tag:blogger.com,1999:blog-42640134252150278012024-03-13T10:38:19.165-07:00CoUNTessesWomen count in the art worldcount.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-4264013425215027801.post-67381277310040021022017-05-25T19:29:00.002-07:002018-05-19T08:09:58.660-07:00launch of new website and fundraiser<div class="separator" style="clear: both; text-align: center;">
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https://australianculturalfund.org.au/projects/countess/</div>
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<span style="color: red; font-family: "arial" , "helvetica" , sans-serif;"><b><a href="https://australianculturalfund.org.au/projects/countess/" target="_blank">CLICK HERE TO DONATE</a></b></span></div>
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<span style="background-color: white; color: #303438; font-family: "graphik" , "helvetica" , "arial" , sans-serif; font-size: 22px;">Since 2008 Countess’s unstoppable commitment to data collection and reportage puts gender equity on the record for everyone to see.</span></div>
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<span style="background-color: white; color: #303438; font-family: "graphik" , "helvetica" , "arial" , sans-serif; font-size: 22px;">Women are 75% of art school graduates but only 34% of artists exhibited in our state museums and galleries. Statistics like this from the countessreport.com.au cannot be argued with – they are evidence that gender biases plays a role in determining what art is exhibited, collected and rewarded.</span></div>
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<span style="background-color: white; color: #303438; font-family: "graphik" , "helvetica" , "arial" , sans-serif; font-size: 22px;">Countess is internationally recognised as the go-to resource for statistics, data and dialogue on gender equity in the Australian visual arts sector. We have already made an impact, sparking debate and excavating the often overlooked, entrenched and normalised gender biases of those in power, but there is still much work to be done.</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">Countess values access and inclusion and has always been freely available online as both a blog and interactive benchmarking report. Countess is a resource for the entire arts ecology – artists, art institutions and their arts workers, curators, directors, boards, art educators, students, art collectors and consumers.</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">Our counting has so far been limited by our resources. This has meant using data that is readily accessible – information that is determined by the visible, </span>binaristic<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;"> genders accounted for in press releases, magazines and official websites. We acknowledge this approach is necessarily limited and it is now essential to expand our scope to include and address a broader conversation.</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">Countess has worked unpaid for too long! Countess needs your donation to fund an ambitious, focused and innovative new editorial team </span>to ask new questions<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">, drive new discussions and to discover and create new strategies and vision.</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">New Website</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">Your donation will fund the redesign and building of a robust, beautiful and instructive new website with an integrated database that will form the framework and platform for Countess activities going forward.</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">As well as continuing the important work of data collection and dialogue around gender equity Countess plans to launch an expanded online platform that will actively commission essays and reviews and creative responses that contribute a wider analysis and dialogue around the issues that create and </span>effect<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;"> gender equity in the Australian visual arts.</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">Suite of Educational Resources</span></div>
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<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;">Your donation will fund the expert research and development of dynamic and creative high school educational resources based </span>around<span style="background-color: white; color: #303438; font-family: inherit; font-size: 16px; font-style: inherit; font-weight: inherit;"> the Countess data and findings specifically for the year 12 curriculum and will be available freely on the new Countess website.</span></div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com0tag:blogger.com,1999:blog-4264013425215027801.post-48468770881249515062016-12-18T17:31:00.000-08:002018-05-19T08:08:41.854-07:002016 - 2017<div class="separator" style="clear: both; text-align: center;">
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It has been way too long between posts, but we have been having a bit of a rest here at CoUNTess @blogspot.com since publishing <a href="http://thecountessreport.com.au/">thecountessreport.com.au</a> in March. </div>
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The primary statistic uncovered by <i>The Countess Report </i>is that women represent <a href="http://thecountessreport.com.au/thecountessreport-visual-art-graduates2014.html" target="_blank">75% of graduates from visual art degrees at universities</a>, yet less than 50% representation in commercial and museum shows.</div>
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<a href="https://1.bp.blogspot.com/-AUV5pXVVxwY/WFcodzHQigI/AAAAAAAAAmo/9x6scde_7Gw4AZm1F-yMLE_pZjZC7nRrQCLcB/s1600/Visual-Art-Graduates-only-2014-%25281%2529.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="488" src="https://1.bp.blogspot.com/-AUV5pXVVxwY/WFcodzHQigI/AAAAAAAAAmo/9x6scde_7Gw4AZm1F-yMLE_pZjZC7nRrQCLcB/s640/Visual-Art-Graduates-only-2014-%25281%2529.gif" width="640" /></a></div>
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Recent 2016 data collected for Masters and Phd graduates at the following popular universities:</div>
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Monash University 6 women, 2 men; COFA UNSW 15 women, 5 men; SCA University of Sydney 12 women, 9 men (PhD graduates 6 women, 1 man) and RMIT 13 women, 9 men. Total - 46 women graduates (64%) and 25 men from these four institutions (35%). </div>
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But when we look at artists represented by commercial galleries, or in curated museum exhibitions like the freshly minted '<a href="https://www.artgallery.nsw.gov.au/exhibitions/the-national-2017/">The National 2017</a>' women make up only 47% of the artists. </div>
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<a href="https://3.bp.blogspot.com/-Xcoh-ddzIXA/WFcd6xvYHuI/AAAAAAAAAl8/3JNY2AuLgdcZPG8xSUdGoTZBPWERbZEMQCLcB/s1600/Gender.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="94" src="https://3.bp.blogspot.com/-Xcoh-ddzIXA/WFcd6xvYHuI/AAAAAAAAAl8/3JNY2AuLgdcZPG8xSUdGoTZBPWERbZEMQCLcB/s640/Gender.jpg" width="640" /></a></div>
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<a href="https://3.bp.blogspot.com/-KxYc3aIzw_U/WFcd7tYhmFI/AAAAAAAAAmM/sYOA2G2d9qgTiKpVXXZZVvfaxb0AinTHQCLcB/s1600/Museum.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="78" src="https://3.bp.blogspot.com/-KxYc3aIzw_U/WFcd7tYhmFI/AAAAAAAAAmM/sYOA2G2d9qgTiKpVXXZZVvfaxb0AinTHQCLcB/s640/Museum.jpg" width="640" /></a></div>
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Playing with data is fun because it's furnished by so many details of an artist's life being made so publicly available - for example when, apart from reading a celebrity magazine at the supermarket check out, is a persons age so often referred to? Although, to be fair, the art world's referencing of an artist's age or date of birth is done in a less up-front way than a magazine cover, they do it via a plaque on a museum wall. It is the museum's public, taxonomical system of recording an artist's work and life into official local, state and national history that inscribes historical status. Perhaps this is why this information is so well tended to in the archives (online or wall text) of an institution? Interestingly, while we were easily able to find online the date of birth of every single artist in 'The National 2017', but got no results when searching the same for the curators!</div>
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<a href="https://4.bp.blogspot.com/-PAOUeM2yEmM/WFcd6y8s-pI/AAAAAAAAAl4/UbGIFaA6rkEFiIVRtXRgW8ZY--b5ciSyACLcB/s1600/DOB.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="95" src="https://4.bp.blogspot.com/-PAOUeM2yEmM/WFcd6y8s-pI/AAAAAAAAAl4/UbGIFaA6rkEFiIVRtXRgW8ZY--b5ciSyACLcB/s640/DOB.jpg" width="640" /></a></div>
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Wall plaques also refer to where an artist was born or lives.</div>
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<a href="https://3.bp.blogspot.com/-qvjeVBjxmxE/WFcd7uszB5I/AAAAAAAAAmI/Obfhldcou5Q7-W8xdYhK6l9_xUFlZvkkQCLcB/s1600/Lives.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="148" src="https://3.bp.blogspot.com/-qvjeVBjxmxE/WFcd7uszB5I/AAAAAAAAAmI/Obfhldcou5Q7-W8xdYhK6l9_xUFlZvkkQCLcB/s640/Lives.jpg" width="640" /></a></div>
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Sometimes a work or image is courtesy of an artists gallery representation - here 25% of the women in the show do not have gallery representation ,while 75% of them do. This compares to 9% of men with no gallery representation and 91% who do.</div>
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<a href="https://3.bp.blogspot.com/-ZAcSFJcvLQI/WFcd7COSYRI/AAAAAAAAAmA/Ic6CbM371KAve8cpt39glxCVLlhQ1zGxACLcB/s1600/Gallery.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="218" src="https://3.bp.blogspot.com/-ZAcSFJcvLQI/WFcd7COSYRI/AAAAAAAAAmA/Ic6CbM371KAve8cpt39glxCVLlhQ1zGxACLcB/s640/Gallery.jpg" width="640" /></a></div>
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<span style="background-color: white; font-family: "lucida grande" , "lucida sans unicode" , "lucida sans" , "dejavu sans" , "verdana" , sans-serif; font-size: 12px;">Throsby & Hollister’s 2003 economic study of professional artists: "Don’t give up your day job." 67% of visual art respondents nominated formal tertiary education as the most important training they undertake to become an artist (p30).</span><span style="background-color: white; font-family: "lucida grande" , "lucida sans unicode" , "lucida sans" , "dejavu sans" , "verdana" , sans-serif; font-size: 12px;"> </span><br />
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75% of the artists in 'The National 2017' have graduated from university with a visual art degree, but you will notice that only 10% of the total women have no degree compared with 40% of the total men. Surmising that 90% of the women in the show have a degree compared to 60% of the men sheds some light on the who needs qualifications to establish their status as an artist, and who is naturally awarded the privilege. </div>
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<a href="https://3.bp.blogspot.com/-wJzc_OWX-ws/WFcd7c14YkI/AAAAAAAAAmE/1C20YgvzrP8LMDokEUtx9-1d9oJEUxaxACLcB/s1600/Highest-Degree.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="86" src="https://3.bp.blogspot.com/-wJzc_OWX-ws/WFcd7c14YkI/AAAAAAAAAmE/1C20YgvzrP8LMDokEUtx9-1d9oJEUxaxACLcB/s640/Highest-Degree.jpg" width="640" /></a></div>
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<a href="https://3.bp.blogspot.com/-0XvKPOd62W8/WFcd74CZRPI/AAAAAAAAAmQ/P7z7fVQFQ6AnUwYY5SX4b1rYUxOqM_CgQCLcB/s1600/University.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="164" src="https://3.bp.blogspot.com/-0XvKPOd62W8/WFcd74CZRPI/AAAAAAAAAmQ/P7z7fVQFQ6AnUwYY5SX4b1rYUxOqM_CgQCLcB/s640/University.jpg" width="640" /></a></div>
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Artists in 'The National 2017' with degrees graduated from the universities listed above. For comparison, below is a chart from thecountessreport.com.au showing the gender representation of graduates from these schools in 2014.</div>
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<a href="https://4.bp.blogspot.com/-oMkXNEDsKGI/WFcogAXwfnI/AAAAAAAAAmw/M_zZAm0atnIpkSvdJE81mE0LldcPnCW4ACEw/s1600/Graduates---Univesity---Degree-Type---Gender-%25282%2529.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://4.bp.blogspot.com/-oMkXNEDsKGI/WFcogAXwfnI/AAAAAAAAAmw/M_zZAm0atnIpkSvdJE81mE0LldcPnCW4ACEw/s640/Graduates---Univesity---Degree-Type---Gender-%25282%2529.gif" width="625" /></a></div>
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CoUNTess has big plans for 2017 and we hope you can be a part of them - we will be launching one of those crowd sourcing fundraising campaigns to raise money to help realise the following projects: </div>
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1. Print <i>The Countess Report 2016</i> into a booklet with ISBN and distribute to all art school libraries and high schools. </div>
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2. Create specific educational materials to be available for high school students, and apply for this to be a part of the HSC, VCE etc curriculum. </div>
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3. Commission a guest editor to run the CoUNTess blog and social media for 12+ months and provide writers fees and mentorship.</div>
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4. Create a new online system to enable self-reporting data collection of institutions' gender representation.</div>
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Stay tuned, more news soon.</div>
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<br />count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com2tag:blogger.com,1999:blog-4264013425215027801.post-67284411876245522142016-04-20T16:01:00.003-07:002018-05-19T07:41:14.590-07:00NAME THAT ARTIST! CoUNTess Drop In Centre @ Ideas Platform, Artspace Sydney 3-8 May 2016<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><b>Name that artist! Drop-in Centre, Gift Shop, Gender Bias Testing Machine, Discussion, Feedback, Interviews, </b><a href="http://thecountessreport.com.au/"><span class="s2"><b>thecountessreport.com.au</b></span></a></span></div>
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<span class="s1">Elvis Richardson, artist and author of <i>The Countess Report</i> (<a href="http://thecountessreport.com.au/"><span class="s2">thecountessreport.com.au</span></a>) will be in residence at the Ideas Platform @ Artspace Sydney from the Tuesday 3rd - Saturday 7th May 2016. The public and interested parties are invited to meet with Elvis in this drop-in / discussion space to share their feedback and responses to <i>The Countess Report</i> in person. You can also share your thoughts on <i>The Countess Report</i> online via twitter #thecountessreport during this time. </span></div>
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<span class="s1">Drop in or make a booking @ <a href="https://directory.bookedin.com/the-countess-report">https://directory.bookedin.com/the-countess-report</a></span></div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com1tag:blogger.com,1999:blog-4264013425215027801.post-80913142830737469032016-03-07T03:17:00.000-08:002018-05-19T07:38:50.116-07:00The Countess Report<div class="separator" style="clear: both; text-align: center;">
<img border="0" height="496" src="https://1.bp.blogspot.com/-Qx6VJvVBQgQ/Vt1cRgDaQWI/AAAAAAAAAjw/Ystr9CfVfoE/s640/thecountessreport-screenshot.gif" width="640" /><a href="http://www.thecountessreport.com.au/" rel="nofollow" target="_blank">http://www.thecountessreport.com.au</a></div>
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<span class="s1"><span style="font-family: "verdana" , sans-serif; font-size: x-small;">On Tuesday 8 March 2016, coinciding with International Women’s Day, CoUNTess will release a new report on gender representation in the contemporary visual arts. The report reveals that there is a continuing imbalance of power in the art world, with men holding more positions at senior levels and male artists significantly better represented by commercial galleries. </span></span></div>
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<em style="background-color: white; font-family: verdana, sans-serif; font-size: small;">The Countess Report</em><span style="background-color: white; font-family: "verdana" , sans-serif; font-size: x-small;"> is a benchm</span><span style="background-color: white; font-family: "verdana" , sans-serif; font-size: x-small;">arking project and online resource on gender equality in the Australian contemporary art sector. Put together </span><span style="background-color: white; font-family: "verdana" , sans-serif; font-size: x-small;">by Elvis Richardson, it compiles and analyses data on education, prizes, funding, art media, organisational makeup, and exhibitions of various kinds across a wide range of galleries including national and State, regional, commercial, ARIs (Artist Run Galleries), and CAOs (Contemporary Art Spaces). </span><em style="background-color: white; font-family: verdana, sans-serif; font-size: small;">The Countess Report</em><span style="background-color: white; font-family: "verdana" , sans-serif; font-size: x-small;"> is based on publically available data collected from websites, exhibition catalogues, magazines and media in the calendar year 2014 - a year chosen because the data set is recent, complete and still readily available. Detailed findings now available in <i>The Countess Report</i> offer evidence of gender disparity in the arts that was not previously available, and provide test-case samples for future benchmarking.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: x-small;"><em style="background-color: white;">The Countess Report</em><span style="background-color: white;"> was conducted by Elvis Richardson, through the initiative and research funding of the Cruthers Art Foundation and assistance provided by NAVA, and an Advisory Committee </span><span style="background-color: white;">composed of </span><a href="http://www.evacox.com.au/" style="background-color: white; color: black; text-decoration: none;" target="_blank">Dr. Eva Cox AO</a><span style="background-color: white;">, </span><a href="http://sydney.edu.au/sca/about/people/profiles/jacqueline.millner.php" style="background-color: white; color: black; text-decoration: none;" target="_blank">Dr. Jacqueline Milner</a><span style="background-color: white;">, </span><a href="https://visualarts.net.au/about/staff/" style="background-color: white; color: black; text-decoration: none;" target="_blank">Tamara Winikoff OAM</a><span style="background-color: white;">, </span><a href="http://thecommercialgallery.com/main" style="background-color: white; color: black; text-decoration: none;" target="_blank">Amanda Rowell</a> and <span style="background-color: white;">John Cruthers,</span><span style="background-color: white;">who have overseen the Countess Report and provided invaluable guidance and assistance.</span><span style="background-color: white;"> </span></span><br />
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<span style="color: #38761d; font-family: "verdana" , sans-serif; font-size: x-small;"><span style="background-color: white;">SEE THE REPORT HERE @ <a href="http://thecountessreport.com.au/">http://thecountessreport.com.au</a></span></span><br />
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<span style="color: #38761d; font-family: "verdana" , sans-serif; font-size: x-small;"><br /></span>count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com1tag:blogger.com,1999:blog-4264013425215027801.post-6389225342528216082015-11-12T18:02:00.001-08:002018-05-19T07:33:58.034-07:00Sydney BiennaleCountess has long ruminated on ideas of success and recognition in the art world, thinking about how success is perceived and experienced in the mysterious 'careers' that artists pursue. Do women and men experience the art world differently? We at Countess @blogspot.com have noticed an extraordinary number of links to feminist issues and news in our social media feeds; maybe, this is because these feeds mirror the things one is searching in Google, or perhaps it's that these issues are popular with the majority of our online community. Either way, this influx of feminism in our feeds is a good sign, showing that there is stuff out there about women's experience of the world and that this stuff is gaining traction. Art-life reflecting online-life, we were pleasantly surprised when counting the gender representation of the just-released list of artists participating in the 2016 <a href="https://www.biennaleofsydney.art/archive/20th-biennale-of-sydney/">Biennale of Sydney</a>, finding a perfect 50/50 split.<br />
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Exploring the BOS20 website, the familiar guides to participating artists' credentials are present - part stock market report, part spring racing guide, with an auction-like summary positioning artwork and artist as valuable cultural investments for the Biennale's visitors (and reputation). This public information is also referenced by influential websites such as A<a href="https://www.artnet.com/price-database/?gclid=CODhjZmjjMkCFUwGvAodLaoJcA" target="_blank">rtnet</a>, and A<a href="http://www.artfacts.net/about_us_new/" target="_blank">rtfacts</a> - organisations who rank artists and institutions for art collectors and institutions.<br />
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The graphs below shows information from each artist page on the BOS20 website; name, date of birth, location of birth and current residence (F=female, FF=female/female collaboration, FM=female/male collaboration, M=male, MM=male/male collaboration)<br />
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A wise artist once said "Art is for young people" and perhaps she was right, in this Biennale 25 artists are born before 1970, and twice as many (50) artist are born post 1970. (At BOS19 90% of artists were born post-1970!)<br />
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Artists in BOS20 are born in a variety of locations.</div>
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Many artists move to central cities such as Berlin, London, Paris, New York and 15 of the listed artists live in more than one city. </div>
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Images on each artists page included information about gallery representation, over half of the artists in BOS20 are represented by galleries. A quick search of the first 20 (25%) of artists in BOS20 list revealed that 85% had previously shown in other international biennales. </div>
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<br />count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com0tag:blogger.com,1999:blog-4264013425215027801.post-79190089837371776422015-07-14T01:23:00.000-07:002018-05-19T07:10:19.747-07:00Archibald PrizeThe CoUNTess email alert has been singing a questioning tune the last two days since the Archibald Portrait Prize finalists have been announced. "Is CoUNTess counting the Archibald?" they have asked. OMG is it that time of year again? The auditor has crunched the numbers from the last 10 years to share with you. <br />
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The question is - how many women artists have applied? We have requested these statistics from Art Gallery of New South Wales and hope to get an answer from them soon. We'll keep you posted.<br />
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<br />count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com4tag:blogger.com,1999:blog-4264013425215027801.post-86500542902623329032015-04-21T19:52:00.003-07:002018-05-19T07:07:26.158-07:00UNSW Galleries<div class="MsoNormal">
<span lang="EN-US">Just days before International Women’s Day and the Sydney Gay and Lesbian Mardi Gras, the exhibition <i>Collection+: Shaun Gladwell</i> opened at UNSW Galleries. Since re/opening in 2013, the gallery has hosted four solo shows for male artists and, disappointingly, no solo shows for female artists. <o:p></o:p></span></div>
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<span lang="EN-US">Prompted by this discrepancy and the many missed opportunities, I decided to follow in the CoUNTess’ footsteps and get counting!<o:p></o:p></span></div>
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<span lang="EN-US">UNSW Galleries’ worst performance was in the category of Solo Shows, with exhibitions being dedicated to Edward Burtynsky, Shaun Gladwell, Richard Goodwin and Richard Mosse. I hope to see this figure balanced out in a year or two.<o:p></o:p></span></div>
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<span lang="EN-US">The figures for curated Group Shows also aren’t great. Female artists comprise only 34% of artists shown, in comparison to 53% male and 13% collaborating artists. The worst offender was curator Andrew Frost, whose exhibition <i>Conquest of Space: Science Fiction & Contemporary Art</i> exhibited more than double the number of male to female artists, and also included a film program of nine male directors. Female directors were entirely absent. By contrast, David McNeil’s <i>Quo Vadis: The last drawing show</i> represented an equal number of male and female artists. Special mention goes to Ali Groves whose exhibition <i>Mighty Healthy</i> was the only Group Show to represent more women than men. <o:p></o:p></span></div>
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<span lang="EN-US">Finally, I counted the number of artists selected for Prize exhibitions and here I was pleasantly surprised. Men and women were equally represented, tallying 48% each with the leftover 4% representing collaborating artists. The Prize shows include <i>The Blake Prize, John Fries Award</i> and the <i>Freedman Foundation Travelling Scholarships</i>. It seems the entry process and the panel-like nature of judging and curating Prize shows produces far more gender-balanced exhibitions. Kudos to the Freedmans, Kath Fries, Megan Cope, Anne Ferran, Alexie Glass-Kantor, Sebastien Goldspink, Lisa Havilah, Tim Johnson, Jay Johnston, Alex Norman and Jess Olivieri.<o:p></o:p></span></div>
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<span lang="EN-US">UNSW Galleries also produced some interesting statistics in terms of Curators and Judges. Women tallied 57% of solo and co-curators and judges, while men tallied only 37%. (The remaining 8% are either unknown or private). These are encouraging statistics and remind us that the artworld is no longer so firmly controlled by the old, white, male guard of yesteryear.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US">Overall, UNSW Galleries has exhibited 51% male artists, 40% female artists and 9% collaborating*. My verdict: not terrible, but there’s certainly room for improvement!<o:p></o:p></span></div>
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<span lang="EN-US">* Student shows including Neil Brandhorst’s <i>SEGUE</i> and <i>The Annual</i> were not included in this count. <o:p></o:p></span></div>
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<span lang="EN-US"><i>Dr Louise R Mayhew is an Australian feminist art historian and the SLNSW Nancy Keesing Fellow. She’s currently researching the Women’s Warehouse (1979–81) and contemporary collaboration in Australia. </i><o:p></o:p></span></div>
count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com3tag:blogger.com,1999:blog-4264013425215027801.post-75765054614780635612014-11-28T15:31:00.000-08:002018-05-19T06:46:25.383-07:00Australia Council 2008-14<div dir="ltr" style="text-align: left;" trbidi="on">
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In case you have ever wondered how the Australia Council fares on gender representation when awarding their grants, CoUNTess is here to share the data with you. And the news is positive. <br />
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We have discovered <a href="http://www.tableausoftware.com/public/" target="_blank">Tableau Public</a> a data-visualisation tool with which to crunch the numbers in many complex ways. Where we would normally collect and count the gender representation figures ourselves, we have availed ourselves of the publicly available data published by the Australia Council for the Arts, which has handily counted for us all the Visual Arts Board grants awarded from 2008 to 2014 (<a href="https://online.australiacouncil.gov.au/ords/GrantsList" target="_blank">here</a>).<br />
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<a href="http://1.bp.blogspot.com/-eFnrMr4WSxc/VHlbZyC_dyI/AAAAAAAAAcI/ISpdJITBsmM/s1600/allfundedgrants.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="483" src="https://1.bp.blogspot.com/-eFnrMr4WSxc/VHlbZyC_dyI/AAAAAAAAAcI/ISpdJITBsmM/s1600/allfundedgrants.jpg" width="640" /></a></div>
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Our findings discovered that over these nine years women are indeed the largest group of funded individuals receiving almost $300,000 more than male artists, who are the second biggest individual category. CoUNTess knows there are actually more women artists than men artists because 65% of graduates from art degrees are women, so a 50.73% representation of women in this category is quite an achievement given the usual trend of under-representation-despite-tertiary-majority.<br />
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The amount of $ funded by grants each year has drastically dipped in 2014 by about half a million dollars.<br />
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The 'All Grants Funded' graph shows two categories where men are funded more than women: the 'New Work Established' category and the 'Studio Residencies'. We also grouped the funded grants data by year and by state to see if there where any fluctuations. One trend we noticed was that in 2010 the mens percentage of the total grants spiked.<br />
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<a href="http://2.bp.blogspot.com/-FJmDREAr2U4/VHle8g3H9eI/AAAAAAAAAcU/V9YirXGGDYk/s1600/allgrants%24funded.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="524" src="https://2.bp.blogspot.com/-FJmDREAr2U4/VHle8g3H9eI/AAAAAAAAAcU/V9YirXGGDYk/s1600/allgrants%24funded.jpg" width="640" /></a></div>
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<a href="http://1.bp.blogspot.com/-dVJ77LDhCBI/VHlfLMJ7AkI/AAAAAAAAAcc/385CKx-QJqU/s1600/allgrants-state-year.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="454" src="https://1.bp.blogspot.com/-dVJ77LDhCBI/VHlfLMJ7AkI/AAAAAAAAAcc/385CKx-QJqU/s1600/allgrants-state-year.jpg" width="640" /></a></div>
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<a href="http://2.bp.blogspot.com/-8SWP4Pitqzs/VHlfQcmu6II/AAAAAAAAAdA/aN01G4RCLvA/s1600/newwork-year.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="578" src="https://2.bp.blogspot.com/-8SWP4Pitqzs/VHlfQcmu6II/AAAAAAAAAdA/aN01G4RCLvA/s1600/newwork-year.jpg" width="640" /></a></div>
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<a href="http://3.bp.blogspot.com/--pAdZ0jy-3w/VHlfSbw6vEI/AAAAAAAAAdY/7-MCr0DmGcg/s1600/studio-year.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="382" src="https://3.bp.blogspot.com/--pAdZ0jy-3w/VHlfSbw6vEI/AAAAAAAAAdY/7-MCr0DmGcg/s1600/studio-year.jpg" width="640" /></a></div>
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The following graph shows the number of individuals who received one grant, two grants, three grants and more between 2008 and 2014.</div>
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<a href="http://4.bp.blogspot.com/-5Uy-ZLZCz24/VHu_6N98nmI/AAAAAAAAAd0/2GJz0tR79Uo/s1600/FREQUENCY_OF-GRANTS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://4.bp.blogspot.com/-5Uy-ZLZCz24/VHu_6N98nmI/AAAAAAAAAd0/2GJz0tR79Uo/s1600/FREQUENCY_OF-GRANTS.jpg" width="640" /></a></div>
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<span style="text-align: left;">The people making the decisions on grant recepients is the Peer Assessment Panel. From 2008-2011 the </span><span style="text-align: left;">Peer Assessment Panel</span><span style="text-align: left;"> consisted of 5-7 people chaired by Ted Snell OAM; an artist and </span><span style="text-align: left;">career academic with an impressive history of board chairing</span><span style="text-align: left;"> since 1999. After 2012 the Australia Council website names the panel members but does not distinguish the roles of chair, voting member or peer advisor. </span></div>
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Starting in 2008 you will notice there has been non-artists and crafts people on the peer panel: gallery directors, curators and arts writers. You will also notice how in 2014 the percentage of artists on the panel drastically reduced, from, on average, 65% to 27%. There has certainly been a change of guard and the baby boomer three-year panel members reign is over. They been replaced by a much younger generation of artists and arts professionals who might sit on only one panel meeting. <br />
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There is another layer of data the Australia Council for the Arts provides: funding to organisations. It will take a lot more digging to see how the funded organisations distributed their grants. In our next post, CoUNTess will reveal the gender breakdown of these grants. This data dig should be interesting, as previous CoUNTess posts have shown that CAOS galleries have not distributed their funds with gender parity.<br />
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Stay tuned.<br />
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com2tag:blogger.com,1999:blog-4264013425215027801.post-11555665285391074722014-06-26T21:31:00.004-07:002018-05-15T09:11:27.422-07:0042A consistent number at the CoUNTesses offices is 40. That's 40% on average of representation of women artists in Australia's public and commercial galleries. But CoUNTess noticed a couple of changing signs that inch our numbers closer towards equality in gender representation in the visual arts we thought we would share with you. 42 for now is the new 40.<br />
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First of all, we're pleased to see so many female artists represented by commercial galleries and getting some wall space at this this years Gallery Art Basel Hong Kong. In fact, 42% of the Australian galleries artists in the Hong Kong Basel Art Fair are women!<br />
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Diane Tanzer - <a href="https://thisisnofantasy.com/artist/natasha-bieniek/">Natasha Bieniek</a><br />
Utopian Slumps - Jake Walker<br />
Sullivan_Strumpf - Sam Leach, Tony Albert, <a href="http://www.sullivanstrumpf.com/artists/ex-de-medici/" target="_blank">Ex de Medici</a>, Alex Seton<br />
Tolarno Gallery - <a href="http://tolarnogalleries.com/artists/anastasia-klose/" target="_blank">Anastasia Klose</a>, <a href="http://tolarnogalleries.com/artists/patricia-piccinini/" target="_blank">Patricia Picinini</a>, Ben Quilty<br />
Jan Murphy Gallery - Danie Mellor<br />
Murray White Room - <a href="http://www.murraywhiteroom.com/artists/polly-borland/" target="_blank">Polly Borland</a>, <a href="http://www.murraywhiteroom.com/artists/anne-marie-may/" target="_blank">Anne-Marie May</a>, Alasdair McLuckie, Aubry/Broquard<br />
Anna Schwartz - Heman Chong, <a href="http://annaschwartzgallery.com/artists/angela-de-la-cruz/" target="_blank">Angela de la Cruz</a><br />
Roslyn Oxley9 - Daniel Boyd, <a href="http://www.roslynoxley9.com.au/artists/17/Fiona_Hall/1564/" target="_blank">Fiona Hall</a><br />
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CoUNTess has been keeping a running tab of art prizes over the last twelve months (but admits it is not an exhaustive range) but found have found changes here, too, in the land of art prizes with 42% of the 2013 winners being female artists! <br />
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While understanding the limits of magical thinking and the claim that 42 is the answer to the universe and everything, and remembering that Elvis did not live to see 43, CoUNTess believes that 42 is indeed a special number that we will be keeping our eye on. count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com1tag:blogger.com,1999:blog-4264013425215027801.post-50946987729246874472014-04-13T22:10:00.001-07:002018-05-15T09:06:28.414-07:00The 19th Biennale of Sydney 2014 : Imagine what you desireThe <a href="http://en.wikipedia.org/wiki/Biennale_of_Sydney" target="_blank">Biennale of Sydney</a> established in 1973 has been curated by 4 women, 14 men and 1 collaborative team (m+f).<br />
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<a href="http://4.bp.blogspot.com/-lw-U-71_QZQ/U0tHIsOlnZI/AAAAAAAAAaw/j0OgcIeVRdY/s1600/boscurators.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="biennale of sydney curators" border="0" height="281" src="https://4.bp.blogspot.com/-lw-U-71_QZQ/U0tHIsOlnZI/AAAAAAAAAaw/j0OgcIeVRdY/s1600/boscurators.gif" title="Curators of the Biennale of Sydney 1973-2014" width="400" /></a></div>
The 19th Biennale of Sydney - <i><a href="https://www.biennaleofsydney.art/archive/19th-biennale-of-sydney/" target="_blank">Imagine What You Desire</a></i> is curated by Julianna Engberg and continues the curator's commitment to exhibiting women artists - a commitment established via her role as Artistic Director of ACCA for many years, where a high representation of women artists have been shown. Engberg includes 38 female artists and 45 male artists in the 19th Biennale which shows a promising result and a steep improvement on <a href="http://countesses.blogspot.com.au/2010/07/17th-biennale-of-sydney-2010.html" target="_blank">previous years</a>. </div>
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<tr><td class="tr-caption" style="text-align: center;">Gender Representation of Artists in the 19th Biennale of Sydney 2014</td></tr>
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But while women are certainly participating in the 2014 Biennale in greater numbers, CoUNTess data-mining disappointingly uncovered a gender bias in the media and marketing around the exhibition/event. </div>
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Catalogue cover = 1 male artist</div>
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Website links to Youtube video interviews with artists = 3 male artists, 1 collab duo (m+f)<br />
Primary School education resource = 4 female artists, 11 male artists and 3 collab<br />
Secondary School education resource = 10 female artists, 15 male artists, 5 collab<br />
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While the website also features a list of exhibitions in local commerical and public galleries. Selection for inclusion in this list is unclear - so CoUNTess counted a range of local Sydney contemporary art spaces to see what artists were on show.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-txEfYfCqIfg/U0ttWSOtsEI/AAAAAAAAAbU/3SzeiFbA5bQ/s1600/solo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="282" src="https://3.bp.blogspot.com/-txEfYfCqIfg/U0ttWSOtsEI/AAAAAAAAAbU/3SzeiFbA5bQ/s1600/solo.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">* indicates gallery was holding two solo exhibitions</td></tr>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com0tag:blogger.com,1999:blog-4264013425215027801.post-31700709465108079542013-09-15T22:52:00.004-07:002018-05-15T09:01:17.232-07:00Not enough women of "merit" ? The CoUNTess inbox set off gender representation alarm bells this week when more than a few emails rolled in announcing the selected artists in a number of upcoming exhibitions in some of Australia's publicly funded museums and public spaces. Whether you're emerging or established, or as they say in Melbourne, "NOW", in these prominent exhibitions it would seem the art-world gatekeepers are having the same problem as Tony Abbott who could not find enough women of "merit" to fill his governments' cabinet positions! <br />
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<a href="http://www.abc.net.au/news/2013-09-16/crabb-a-ministry-of-merit-conspicuously-lacking-in-women/4960902" target="_blank">Annabel Crabb</a>'s commentary on Abbott's "merit" claim is quoted here for its humour and the familiar parallel with claims of artistic merit that also dominate the contemporary visual arts<br />
<blockquote class="tr_bq">
"That's just how it panned out" is the traditionalists' defence of
organisations that proudly appoint "only on merit" and find, time after
time, that an astonishingly high proportion of the really excellent
people also have willies.</blockquote>
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<b><span style="color: red;">1. <span class="heading_bold"><a href="https://www.artspace.org.au/program/exhibitions/2013/2013-nsw-visual-arts-fellowship-for-emerging-artists/"> NSW Visual Arts Fellowship for Emerging Artists </a></span></span></b><span class="heading_bold">(used to be Helen Lempriere Travelling Art Scholarship)</span><br />
<span class="heading_bold"><br /></span>
<b><span class="heading_bold">12 Finalists - </span></b><span class="heading_bold"><b>4</b> female artists - <b>8</b> male artists</span><br />
<span class="heading_bold">There is really no excuse for gender inequality in a show of selected emerging artists fresh out of our national art schools which are overflowing with female students (previous CoUNTess posts have determined up to 70% and sometimes more graduating students from fine art courses are women). How does a result occur where twice as many male artists than women artists are selected? Is the way the art-world judges artistic merit playing a part? Is artistic merit gendered? Or is it possible women artists are not applying in sufficient numbers? If not why not? </span><br />
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<span class="heading_bold">For reference CoUNTess combed back through the scholarships
history and found an equal distribution of the scholarship winners between female, male and collaborative duos. But regardless of such an even handed historical result, when Artspace recently put together a travelling exhibition showcasing some of the previous winners prophetically titled How Yesterday Remembers Tomorrow<a href="https://mgnsw.org.au/sector/exhibitions/past-exhibitions/how-yesterday-remembers-tomorrow/">https://mgnsw.org.au/sector/exhibitions/past-exhibitions/how-yesterday-remembers-tomorrow/</a> it included; <b>1</b> solo female artist, <b>2</b> collaborative male/female duos and <b>3</b> solo male artists - effectively <b>5</b> male artists and <b>3</b> female artists.</span><br />
<span class="heading_bold"><br />The Artspace website, where this scholarship exhibition has been held on an annual basis, quotes the Minister for the Arts </span>The Hon. George Souris MP who states:<br />
<blockquote class="tr_bq">
Applicants were assessed by an independent panel on their artistic
merit, professional skills and experience, the suitability of their
proposed program in relation to their artistic practice, and the
significance of the program to their career....</blockquote>
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<span class="heading_bold"> </span><br />
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<span style="color: red;"><span class="heading_bold"><b>2</b>. </span><b><a href="http://adelaidebiennial.com.au/2014/" target="_blank">2014 Adelaide Biennial of Australian Art: DARK HEART</a> </b></span><br />
<span style="color: red;"><b> </b></span><br />
<b><span class="heading_bold">23 exhibiting artists - </span></b><span class="heading_bold"><b>7</b> female artists - <b>15</b> male artists - <b>1</b> collaborative group</span><br />
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<span class="heading_bold">Adelaide Biennial is an exhibition at the other end of the professional spectrum to the NSW Emerging Artist Fellowship. CoUNTess has addressed this bi-annual curated exhibition in <a href="http://countesses.blogspot.com.au/2012/01/adelaide-biennial-2004-2012.html" target="_blank">previous posts</a> - and unfortunately this show has mostly favoured male artists with one exception in 2004 when curated by Julie Robinson. </span><br />
<span class="heading_bold"><br /></span>The AGSA announces the exhibition <span class="heading_bold">is about difficult conversations and the </span><span class="heading_bold">guest speaker will be Germaine Greer! </span><br />
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<span class="heading_bold">CoUNTess has a difficult question - why so few women artists?</span><br />
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<span class="heading_bold">From the Art Gallery of South Australia's website </span><br />
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<blockquote class="tr_bq">
<span class="heading_bold"><i>‘In its 13th iteration the Biennial will tap into the hearts and minds of contemporary
Australian society, to explore the political, the psychological and the personal. I am after an
inherently emotional and immersive exhibition, one that is unafraid to ask difficult questions and
expose the underbelly of society.’</i>
<b>Nick Mitzevich curator</b>
<br />
<br /><i>The theme of difficult conversations runs throughout the biennial. This will be presented in
the exhibition publication which will feature an essay by Australia’s most controversial
expatriate, Germaine Greer. </i>
</span></blockquote>
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<b><span class="heading_bold"><span style="color: red;">3.<a href="https://www.ngv.vic.gov.au/melbournenow/about-melbourne-now.html"> Melbourne Now NGV</a><a href="http://www.ngv.vic.gov.au/whats-on/exhibitions/exhibitions/melbourne-now" target="_blank"> </a></span></span></b><br />
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<span class="heading_bold"><span style="color: red;"><span style="color: black;"><b>28</b> initial artists announced on NGV website - <b>8</b> female artists - <b>14</b> male artists + (<b>5</b> designers 4 of whom are women and 1 male)</span></span></span><br />
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<span class="heading_bold">CoUNTess is looking forward to seeing the full list of over 130 participating artists. In the meantime we had to make do with the initial list, which is being released in stages and published on the NGV website ... </span><br />
<blockquote class="tr_bq">
<span class="heading_bold"></span><i>Melbourne Now</i> celebrates the latest art,
architecture, design, performance and cultural practice to reflect the
complex cultural landscape of creative Melbourne. This ambitious and
far-reaching exhibition across NGV Australia and NGV International will
show how visual artists and creative practitioners have profoundly
contributed to creating a place with a unique and dynamic cultural
identity.</blockquote>
While <b>CoUNTess's focus is always on the contemporary artists' gender representation</b>, it is obvious the greater percentage of women participants in <i>Melbourne Now</i> at this point are designers. While the majority of contemporary artists in <i>Melbourne Now</i> at this point are male artists. Is this also a situation of just not enough women artists with "artistic merit"? How can these gender representation numbers make sense when they sit in stark contrast to the fact that the gender distribution of fine art graduating students (the pool of artists) are 70% women.<br />
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We hope this initial published artists participant list will not reflect the gender representation in the full show when it opens in November. Because the very real-world outcome of unequal gender representation is unequal distribution of funds and thats a very real pay gap?<br />
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<a href="https://www.mca.com.au/artists-works/exhibitions/primavera-2013/" target="_blank"><b><span style="color: red;">4. </span><span style="color: purple;">Primavera - Museum of Contemporary Art, Sydney</span></b></a><br />
<b>4</b> female artists, <b>4</b> male artists<br />
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Just so your spirits are not completely disheartened there are some exhibitions that manage equal gender representation and Primavera 2013 is one.<br />
<blockquote class="tr_bq">
This much-loved annual exhibition (turning 22 this year!) returns to
our galleries with the next crop of unapologetically bold makers,
thinkers and performers. Hailing from Perth, Melbourne and Sydney, the
work of these eight young Australian artists will delight and fascinate.
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<span style="color: red;"><b>5. <a href="https://www.mca.com.au/stories-and-ideas/publications/the-wandering/">The Wandering: Moving Images from the MCA Collection</a></b></span><br />
<b>15 exhibiting artists : 4</b> female artists (one is a collaborative duo), <b>10</b> male artists<br />
<br />
Unfortunately another current MCA project can not claim the same gender equality outcome as Primavera. This exhibition <i>The Wandering</i> is a touring show of works purchased by the MCA for their collection of 14 moving image works by 4 female artists (one being a collaborative duo) and 10 male artists.<br />
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This collection-based show would suggest that either the MCA doesn't appear to have a gender equity policy and therefore haven't seen the need to collect moving image work by women, or they <i>do</i> purchase moving image work by women, but they just choose not to show it.<br />
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Whichever the case, this example shows how the work of women artists is undervalued and under represented. The blurb from the MCA website about this show claims;<br />
<blockquote class="tr_bq">
<div class="half-width bodycopy">
<i>The Wandering: Moving images from the <span class="caps">MCA</span> Collection</i>
takes us on a unique journey through contemporary Australian art. The
immediacy of moving image provides opportunities for art to engage with
audiences in ways that are different to static, more traditional
mediums, such as painting and sculpture. The exhibition presents
artworks recently acquired by the Museum of Contemporary Art Australia
by 15 leading artists</div>
</blockquote>
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<span class="heading_bold"><br /></span>count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com5tag:blogger.com,1999:blog-4264013425215027801.post-50149182238354216932013-05-13T21:05:00.002-07:002018-05-15T08:49:25.584-07:00CoUNTess goes to 55th International Venice Biennale<!--[if gte mso 9]><xml>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;"><i>by The Auditor </i></span></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">As CoUNTess is about to jet off to see the continent this year, We
thought We’d do a bit of homework about what We might expect to see.</span></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">First stop on our itinerary will be Venice to see the 55th International Venice Biennale<a href="https://universes.art/venice-biennale/2013/">https://universes.art/venice-biennale/2013/</a>, so
We checked the list of exhibiting artists and of course We had to do a bit of CoUNTing since that’s what We do.</span></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Apart from each participating country having its own pavilion in
the Giardini, the main exhibition is a
huge international show and the major part of the Biennale this year it is curated by Massimilliano Gioni and is titled <a href="https://universes.art/venice-biennale/2013/tour/palazzo-enciclopedico/"><i>The Encyclopedic Palace</i></a>. </span><span style="mso-ansi-language: EN-AU;"></span></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Included in the exhibition are
36 female artists and 104 male artists as well as 11 collaborations or groups. </span></div>
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<a href="http://1.bp.blogspot.com/-8_sZbYN1kPY/UZGqpRQWVWI/AAAAAAAAAWk/-40BC2XFWH0/s1600/venicebinnale2013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="299" src="https://1.bp.blogspot.com/-8_sZbYN1kPY/UZGqpRQWVWI/AAAAAAAAAWk/-40BC2XFWH0/s320/venicebinnale2013.jpg" width="320" /></a></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Shock! Horror! Or maybe on second thoughts, it’s not really
surprising since it's almost typical of gender balances that We see a lot of here
in Australia, if not slightly worse. </span><br />
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<span style="color: #444444; font-family: "arial" , sans-serif; font-size: 13pt;">We noted that there are no Australian artists in this important curated exhibition while the Australian Pavilion
will show the work of Simryn Gill.</span></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">When those figures are put into percentages, We find that the
exhibition showcases the work of 69% male artists and only 24% female artists.
Surprisingly the international exhibition lists almost the same percentages as
all of the individual country’s pavilions when they were counted. Out of 31
countries that will show solo artists 74% solo artists will be male and 26%
will be female. Assuming all of these countries have similar ratios of artists
in general and art school graduate ratios as Australia has, (35% male grads and
65% female grads) a male artist will have above 5 times more chance of showing
at the Venice Biennale than a female artist.</span></div>
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<a href="http://3.bp.blogspot.com/-6cfXPTX8tLQ/UZGqssF44DI/AAAAAAAAAWs/ZwrLcTyuzf8/s1600/venicebinnalepavillions2013+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="299" src="https://3.bp.blogspot.com/-6cfXPTX8tLQ/UZGqssF44DI/AAAAAAAAAWs/ZwrLcTyuzf8/s320/venicebinnalepavillions2013+copy.jpg" width="320" /></a></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">These Venice Biennale figures are even worse than the gender
biases seen in recent Australian exhibitions such as the past few Sydney
Biennales. We pondered this for a while and wondered if the reason could be
that in Europe there is not as much emphasis on gender balancing as there is in
Australia. We suspect that in Australia, there might be an agenda by the
curators and organizations to be mindful about showing both male and female
artists equally. This appears not to be the case in Italy. </span></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Curators of biennales are expected to show the best and most
interesting art that they can find around the world. There is often a theme to
these shows that determines selection, so the selection is not just the best
art but the art that fits the theme. Often these themes can slide into being politically
correct and predictable, and We don’t like the idea of curators
having to have gender balance as an enforced politically correct agenda, but We
do feel that without awareness of the balance a curator will have inbuilt
biases towards male artists.</span></div>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Bon Voyage!</span></div>
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<h2 class="MsoNormal">
<b><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">LIST OF WOMEN ARTISTS in The Encyclopedic Palace @ 55th Venice Biennale 2013</span></b></h2>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;"><br /></span></div>
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<a href="http://www.modernamuseet.se/en/Stockholm/Exhibitions/2013/Hilma-af-Klint/" target="_blank"><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Hilma of Klint</span></a></div>
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<a href="http://au.phaidon.com/agenda/art/articles/2011/december/05/inside-the-mind-of-ellen-altfest/" target="_blank"><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Ellen Altfest</span></a></div>
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<a href="http://www.hauserwirth.com/artists/50/phyllida-barlow/images-clips/" target="_blank"><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Phyllida Barlow</span></a></div>
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<a href="http://theapproach.co.uk/artists/channer/" target="_blank"><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Alice Channer</span></a></div>
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<a href="http://www.helenmarten.com/" target="_blank"><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Helen Marten</span></a></div>
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<a href="http://www.latriennale.org/en/artists/carol-rama" target="_blank"><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">Carol Rama</span></a></div>
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<b><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;">LIST OF WOMEN ARTISTS going solo for their country pavilion @ 55th Venice Biennale 2013</span></b><span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;"> </span></h2>
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<span lang="EN-US" style="color: #444444; font-family: "arial" , "sans-serif"; font-size: 13.0pt;"><a href="http://www.nicolacostantino.com.ar/en/index.php" target="_blank">Nicola Costantino</a> - Argentina</span></div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com2tag:blogger.com,1999:blog-4264013425215027801.post-64571205842453935172012-12-02T04:32:00.001-08:002018-05-15T08:40:57.268-07:00Educating and exhibiting artists<br />
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The fact remains that twice as many female artists graduate from our art schools compared to male artists. </div>
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<a href="http://3.bp.blogspot.com/-XDZJQ8244gQ/ULssY1EcwjI/AAAAAAAAATg/HmNc2094TNw/s1600/2011graduates.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://3.bp.blogspot.com/-XDZJQ8244gQ/ULssY1EcwjI/AAAAAAAAATg/HmNc2094TNw/s320/2011graduates.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Gender representation in a selection of 2011 Bachelor of Visual Art degree courses nationally</span></div>
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<span style="font-size: xx-small;">Data collected from 2011 graduation exhibition websites</span><span style="font-size: x-small;"> </span></div>
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<span style="font-size: xx-small;">(Charles Darwin University not included as no data available)</span></div>
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Based on this fact you would expect to see twice the work exhibited in our public and commercial galleries and museums to be by female artists. CoUNTess has noted <a href="http://countesses.blogspot.com.au/2008/11/missing-in-action.html" target="_blank">before</a> how gender representation is reflected in the <a href="http://www.abs.gov.au/ausstats/abs@.nsf/94713ad445ff1425ca25682000192af2/8a87ef112b5bcf8bca25703b0080ccd9!OpenDocument" target="_blank">workplace</a> of other female-dominated degree programs. </div>
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<a href="http://1.bp.blogspot.com/-XeL_M8mVMD0/UMVrePz6RcI/AAAAAAAAAVU/DtC_UufqxGk/s1600/caos201122.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://1.bp.blogspot.com/-XeL_M8mVMD0/UMVrePz6RcI/AAAAAAAAAVU/DtC_UufqxGk/s320/caos201122.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Gender representation in exhibitions from a selection (one from each state) of CAOS contemporary art space galleries</span></div>
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Even if half of graduating female artists turned out to be unambitious or uninteresting, then you should still expect to see half of the work exhibited in our art spaces to be by female artists. Yet, it’s not like that. Instead, what is represented in most galleries is the reverse of what the graduate statistics lead us to expect.</div>
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<a href="http://3.bp.blogspot.com/-1OMBNKflOys/ULs9T9luFwI/AAAAAAAAAT4/5i2GD2wf3-k/s1600/artschoolgrads_caos_total.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="169" src="https://3.bp.blogspot.com/-1OMBNKflOys/ULs9T9luFwI/AAAAAAAAAT4/5i2GD2wf3-k/s320/artschoolgrads_caos_total.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Gender representation total in percentages of visual art graduates in 2011 and exhibiting artists in selected CAOS galleries (one selected from each state)</span></div>
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A third of artists exhibiting in CAOS galleries for example are women, yet women make up two thirds of art school graduates. That means that a female graduate has a much less chance of getting recognition and remuneration than a male graduate. </div>
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CoUNTess numbers have consistently shown that women artists make up 60-65% of the artist population (the pool) yet get 33-40% of the pie, while male artists who make up 33-40% of the artist population get 60-65% of the pie.<br />
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com9tag:blogger.com,1999:blog-4264013425215027801.post-17530623434412831142012-12-02T04:31:00.003-08:002018-05-15T08:38:58.529-07:00Pie I have eaten / Pie I am yet to eat<!--[if gte mso 9]><xml>
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<span style="font-size: x-small;">Pie I have eaten / Pie I am yet to eat</span></div>
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For a few years now CoUNTess has been keeping tabs on gender representation in the Australian art
world and sharing our findings via this blog. We are pleased that all our number crunching is adding up to something and coming to the
attention of the media and institutions. Renown feminist journalist <a href="http://www.annesummers.com.au/" target="_blank">Anne Summers</a> new online publication <i>Anne Summers Report</i> featured a report on CoUNTess on page 11.</div>
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And in <i>The Age</i> Sunday Dec 2nd CoUNTess gets a significant reference in an article by <a href="http://www.theage.com.au/entertainment/art-and-design/recasting-the-old-masters-club-20121201-2anzd.html#ixzz2DrgXbFv8" target="_blank">Fiona Grubber “Recasting the old masters club”</a> pointing out how women working in
Australia’s visual art institutions far outnumber men, yet only a few are
holding the top jobs and nor were credible women candidates touted as even being
in the running for the recent directorial appointments at various state
museums. CoUNTess wonders why the
art world is a place where the majority of administrative, curatorship
and promotion positions at art institutions are filled by women (although as Grubber points out the top job is more often than not a man), but all the while exhibiting in a majority of male artists, CoUNTess believes, at the expense of their female colleagues?<o:p></o:p></div>
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There are a couple of
points in Grubber's article of particular interest to CoUNTess which address the social and economic climate that women artists are working in. The first is in reference to Sydney gallerist Roslyn
Oxley<o:p></o:p></div>
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“<span lang="EN-US">she sees
gender bias in the marketplace all the time. Collectors tend to prefer male
artists' work, and among the gallery's stable of mid-career artists, the men's
earning capacity is significantly greater”<o:p></o:p></span></div>
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<span lang="EN-US">This is
interesting because it pinpoints the issue of collector bias as a site of important research for future
attention in the posts of CoUNTess. </span>Anyone who visits art fairs, commercial galleries and auction houses can take note how often the price point for women artists is significantly lower than for work by men. </div>
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The second point of interest is her reference to a statistic from the Australia Council, showing
the gender of working artists and how much they earn.</div>
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<span lang="EN-US">“Being an artist is also twice as tough for
women. Australia Council statistics from 2008 (the most recent available)
reveal that two thirds of visual artists are women but that women in the arts
(there are no separate income figures for visual artists) earn on average 50
per cent less than men.”<o:p></o:p></span></div>
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One way to influence collector bias is to ensure that public funding of art institutions is shared more equitably. If publicly funded galleries collected and exhibited with female artists with equitable recognition, it would certainly raise these artists' profile and elevate a collectors confidence in buying work by female artists. CoUNTess believes our public galleries should also be taking an interest in collecting and exhibiting art that is representative of what is being <i>produced</i> not just art that is being speculated upon.<br />
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<!--EndFragment-->count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com1tag:blogger.com,1999:blog-4264013425215027801.post-28175898932845980282012-06-25T16:40:00.008-07:002018-05-15T08:06:47.760-07:00Contemporary Australia: Women<a href="http://2.bp.blogspot.com/-T0hmGL6cA_U/T-ktx-dbcOI/AAAAAAAAASY/CNtDWhGFxsw/s1600/contemporary_goma.jpg" style="font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5758183935173161186" src="https://2.bp.blogspot.com/-T0hmGL6cA_U/T-ktx-dbcOI/AAAAAAAAASY/CNtDWhGFxsw/s400/contemporary_goma.jpg" style="cursor: hand; cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br /><br />
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<span style="color: #232323;"><i>Contemporary Australia: Women</i> was a surprising exhibition on the calendar this year, the second in QAGOMA's Contemporary Australia exhibitions, the first </span><i><span>Optimism</span><span style="color: #232323;"> </span></i><span style="color: #232323;">which included <a href="https://www.qagoma.qld.gov.au/whats-on/exhibitions/past-exhibitions/contemporary-australia2">considerably more men than women artists</a> '</span><i style="font-style: normal;">Contemporary Australia: Women' </i><span style="color: #232323;"><a href="https://blog.qagoma.qld.gov.au/artists-announced-for-contemporary-australia-women/">redresses the balance considerably</a> and </span><span style="color: #232323;">includes 100% women artists. QAGOMA's website says:</span></div>
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'Contemporary Australia: Women' includes more than 70 works in painting, sculpture, photography, installation, textiles, video, and performance. The exhibition will explore key themes such as ‘performing’ femininity; the place of personal and intimate spheres such as sexuality, the body, motherhood and ageing; the return to everyday materials; and the ways some artists are ‘redressing the canon’ of painting.</blockquote>
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Gender applies to men just as it does to women, yet it is predominantly women who are grouped and defined by it. Could an exhibition called 'Men' <span style="color: #232323;">be staged, </span><span style="color: #232323;">and if so, would the show only include male artists? Could a woman artist also also engage with the male subject? At CoUNTess we think so, as women can draw on their lifelong experience at identifying or coming to understand the centralised male protagonist. </span></div>
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<span style="color: #232323;">Other all-women shows at large museums over the past couple of years such as <i>WACK</i> a touring exhibitions from MOCA, or <i>Global Feminisms</i> at the Brooklyn Museum of Art </span><span style="color: #232323;">and <i>Elles @ Centre Pompidou</i> </span><span style="color: #232323;">have influenced a contemporary agenda within the curating and museum landscape and effectively redistributing gallery wall space. However, these all-gender shows can also be criticised for marginalising the artists they exhibit and women artists as a whole. Are audiences being asked to look at this art as a separate category from 'mainstream' art. As far as we can tell, none of these exhibitions included any males artists which again heightens the concerns of women's art vis a vis the art world at large; what we are being told is that women artists do not have, or have an entirely seperate influence upon 'mainstream' (male) art. A suggested hierarchy comes into play: mens art is too-often represented as referencing humanity, (why not just performing masculinity?) and in dialogue with art history, while women's art needs its own separate category and therefore is adjunct or alternative to men's art. </span></div>
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<span style="color: #232323;">While <i>WACK</i> and co. place feminism front and centre in their curatorial premises the 'f' word is hardly mentioned in the online and educational material for GOMA's <i>Contemporary Australia: Women</i>. The 'f' word seems to be avoided as the show situates itself as celebrating the achievements of women artists. Its curator Julie Ewington is quoted in <a href="http://www.theaustralian.com.au/arts/review/both-sides-now/story-fn9n8gph-1226312229180">The Australian</a>:</span></div>
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<span style="color: #232323;"><br /></span></div>
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<span style="color: #232323;"><span style="background-color: rgb(255 , 255 , 255); line-height: 18px;"></span></span><br />
<blockquote>
<span style="color: #232323;"><span style="background-color: white; line-height: 18px;">"What is the show about? It's about celebration and exploration. It's not about complaint, it's about what is being achieved."</span></span></blockquote>
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<div style="font-weight: normal;">
It is good to have a growing variety of exhibitions and practices, and for these to be seen in our public museums - CoUNTess is behind these kinds of shows as they do raise the profile and work of women artists and that is a good thing. <span style="color: rgb(35 , 35 , 35);">But while CoUNTess loves these enterprises, the grand prize would be to see equal numbers of women in ALL contemporary art exhibitions.</span></div>
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<span style="color: rgb(35 , 35 , 35);"><br /></span></div>
<div style="font-weight: normal;">
<b>Artists Featured</b></div>
<div style="font-weight: normal;">
<div>
<b>Amata</b> painters (SA): senior artists, Tjampawa Katie Kawiny; Wawiriya Burton; Ruby Tjangawa Williamson; Iluwanti Ken; Tjungkara Ken; Paniny Mick </div>
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Rebecca <b>Baumann </b>(WA) </div>
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Lauren <b>Brincat </b>(NSW) </div>
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<b>Brown Council </b>(NSW): Frances Barrett; Kate Blackmore; Kelly Doley; Diana Smith</div>
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Kirsty <b>Bruce </b>(QLD) </div>
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Bindi <b>Cole </b>(VIC)</div>
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Agatha <b>Gothe-Snape </b>(NSW)</div>
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Marie <b>Hagerty </b>(NSW/ACT) </div>
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Fiona <b>Hall </b>(SA)</div>
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Natalya <b>Hughes </b>(NSW)</div>
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Ruth<b>Hutchinson </b>(VIC)</div>
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Deborah <b>Kelly </b>(NSW)</div>
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Justine <b>Khamara </b>(VIC)</div>
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Anastasia <b>Klose </b>(VIC)</div>
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Gabriella <b>Mangano</b> and Silvana <b>Mangano </b>(VIC)</div>
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Jennifer <b>Mills </b>(VIC)</div>
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Kate <b>Mitchell </b>(NSW)</div>
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Rose <b>Nolan </b>(VIC)</div>
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Jess Olivieri and Hayley Forward with <b>Parachutes for Ladies </b>(NSW): Hayley Forward; Jess Olivieri </div>
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Therese <b>Ritchie </b>(NT)</div>
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Sandra <b>Selig </b>(QLD)</div>
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Noël <b>Skrzypczak </b>(VIC)</div>
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Sally <b>Smart </b>(VIC)</div>
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<b>Soda_Jerk </b>(NSW): Dan Angeloro; Dominique Angeloro</div>
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<b>Wakartu Cory Surprise </b>(WA)</div>
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Hiromi <b>Tango </b>(QLD)</div>
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Monika <b>Tichacek </b>(NSW)</div>
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Jenny <b>Watson </b>(QLD)</div>
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Judy <b>Watson </b>(QLD)</div>
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Louise <b>Weaver </b>(VIC)</div>
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Justene <b>Williams</b>(NSW) </div>
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Gosia <b>Wlodarczak </b>(VIC)</div>
<div>
Judith <b>Wright </b>(QLD)<b style="font-family: "georgia" , serif; font-size: medium;"><span style="font-size: 14px;"><br /></span></b></div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com1tag:blogger.com,1999:blog-4264013425215027801.post-24162802932215035372012-04-23T06:05:00.019-07:002018-05-15T07:48:10.244-07:00Auditing the Order of CAOs 2011<div style="text-align: center;">
<a href="http://2.bp.blogspot.com/-UXeg6yMylAE/T5VUB-1_zEI/AAAAAAAAARg/_YEN2vTE-8E/s1600/caos2011artists.jpg"><span class="Apple-style-span" style="margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="font-size: 100%; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5734582093552274498" src="https://2.bp.blogspot.com/-UXeg6yMylAE/T5VUB-1_zEI/AAAAAAAAARg/_YEN2vTE-8E/s400/caos2011artists.jpg" style="cursor: hand; cursor: pointer; display: block; height: 221px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></a></div>
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<span style="font-size: xx-small;">Artists who exhibited in solo and group shows in National CAOs galleries in 2011</span></div>
<br />
<span style="font-size: 100%;">by The Auditor</span><br />
<br />
<span style="font-size: 100%; font-weight: bold;">Auditing the Order of CAOs 2011</span><br />
<span style="font-size: 100%;">A few years ago we counted gender representation of CAOs (Contemporary Arts Organisations Australia). We found that most of CAO's public art spaces preferred showing the work male artists (60% male artists/40% female artists). We decided to see if the balance had improved since 2008 and looked at the same galleries over the 12 month program of 2011.</span><br />
<br />
<span style="font-size: 100%;">As in the past survey, we counted the main gallery spaces, for solo and group exhibitions (see full survey below). We were surprised and disappointed that the balance had worsened since 2008. Artspace had made a slight improvement, but most galleries had a significant bias towards showing male artists, except for 24HR Art in Darwin. </span>The IMA (Institute of Men’s Art) in Brisbane fared the worst, showing hardly any women at all in their program.<br />
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<a href="http://4.bp.blogspot.com/-L3skpc1d6xM/T5dMRpdQY_I/AAAAAAAAAR8/AD-wDBE4tcc/s1600/CAOs2011.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5735136516549665778" src="https://4.bp.blogspot.com/-L3skpc1d6xM/T5dMRpdQY_I/AAAAAAAAAR8/AD-wDBE4tcc/s400/CAOs2011.jpg" style="cursor: pointer; display: block; height: 223px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 400px;" /></a></div>
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<span class="Apple-style-span" style="font-size: 78%;">click to enlarge</span></div>
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<span style="font-size: 100%; font-weight: bold;">Column length</span><br />
<span style="font-size: 100%;">The amount and quality of text written about an artist can reflect the promotion and appreciation of their work. It's often the case that women artist's work gets less word coverage than their male counter-parts, and when they are written about, the authors can easily get distracted away from the artist to focus on other issues and male artists. In contrast, we are noticing a trend of more words and grander references when curators write about the work of male artists. Often curators get more mention than the female artists.</span><br />
<br />
<span style="font-size: 100%;">We decided to test this repetitive observation by measuring the length of text in centimetres published on the gallery’s web pages from the CAOs 2011 program and quickly confirmed that women artists do get much less written about them.</span><br />
<br />
<span style="font-size: 100%;">Each text was put into a word document with consistent font and settings. We got out our rulers and did the measurements. Text was measured if the author was discussing a particular artist’s work, and not counted when discussing general themes of a mixed gender group show for example.</span><br />
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<a href="http://4.bp.blogspot.com/-PEYtcKghWDQ/T5VUCKbwxyI/AAAAAAAAARs/uwOoOEiexIs/s1600/caos2011websitetext.jpg" style="font-size: 100%;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5734582096663463714" src="https://4.bp.blogspot.com/-PEYtcKghWDQ/T5VUCKbwxyI/AAAAAAAAARs/uwOoOEiexIs/s400/caos2011websitetext.jpg" style="cursor: hand; cursor: pointer; display: block; height: 195px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span class="Apple-style-span" style="font-size: 78%;">click to enlarge</span></div>
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<span style="font-size: xx-small;">Text centimetres on artists who exhibited in solo and group shows in National CAOs websites in 2011</span></div>
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<span style="font-size: 100%; font-weight: bold;">Unequal Share</span></div>
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<span style="font-size: 100%;"><span class="Apple-style-span" style="color: rgb(0 , 0 , 238); font-size: 16px;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5735181875642401058" src="https://1.bp.blogspot.com/-S0nOrscgvPY/T5d1h5PsgSI/AAAAAAAAASI/mzcsZ8MWO5w/s400/Money%2Bbags.jpg" style="cursor: pointer; display: block; height: 209px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 355px;" /></span></span></div>
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<span style="font-size: 100%;">We are interested in how public money is being spent in the arts. Public art spaces are primarily funded by the Australia Council so can we assume are subject to EEO in the workplace.</span><br />
<br />
<blockquote style="font-size: 100%;">
How does EEO work?<br />
Part 9A of the New South Wales Anti-Discrimination Act requires all public sector agencies to implement EEO programs. The aims of such EEO programs are to:<br />
• ensure that the talents of all staff are fully recognised and used in accordance with the merit principle;<br />
• redress past disadvantages;<br />
• better meet customer service requirements;<br />
• implement employment conditions which promote increased productivity; and<br />
• achieve the redistribution of people in the EEO groups in all levels and classifications of work.</blockquote>
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<span style="font-size: 100%;">Are the Australia Council and public galleries intentionally flaunting government policy, or just being accidentally lazy in distributing funds to more male artists than female artists? If they think it is too hard to do the sums, we have done it in a few hours so why can’t they? Unless the Australia Council and the public galleries are more accountable for where their money is being spent they risk credibility and funding. None of us want that.</span><br />
<span style="font-size: 100%;">The Auditor</span></div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com5tag:blogger.com,1999:blog-4264013425215027801.post-15435674316852489242012-01-17T17:22:00.001-08:002018-05-15T07:45:58.064-07:00Adelaide Biennial 2004 - 2012<div class="separator" style="clear: both; text-align: center;">
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Women artist exhibited in Adelaide Festival Visual Arts, Adelaide Biennial 2004-2012</div>
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<table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse; width: 189px;"> <!--StartFragment--> <colgroup><col width="189"></col> </colgroup><tbody>
<tr height="17"> <td height="17" width="189"><a href="http://www.darrenknightgallery.com/artists/wallace/artist.htm">Anne Wallace</a></td> </tr>
<tr height="13"> <td height="13">Anne-Marie May</td> </tr>
<tr height="16"> <td class="xl26" height="16"><a href="http://www.adelaidefestival.com.au/2012/annika_larsson">Annika Larsson (SWE)/</a></td> </tr>
<tr height="14"> <td class="xl28" height="14"><a href="http://www.roslynoxley9.com.au/artists/30/Bronwyn_Oliver/">Bronwyn Oliver</a></td> </tr>
<tr height="13"> <td height="13"><a href="http://www.knockalong.com.au/">Bronwyn Wright</a></td> </tr>
<tr height="14"> <td class="xl28" height="14"><a href="http://arcone.com.au/index.php?navi=Artists&navj=Profile&aid=34&navk=CATHERINE%20WOO">Catherine Woo</a></td> </tr>
<tr height="16"> <td class="xl26" height="16"><a href="http://www.adelaidefestival.com.au/2012/chosil_kil">Chosil Kil (STH KOR/UK)</a></td> </tr>
<tr height="14"> <td class="xl26" height="14"><a href="http://www.adelaidefestival.com.au/2012/danae_stratou">Danae Stratou (GRE)</a></td> </tr>
<tr height="13"> <td height="13"><a href="http://www.deborahpaauwe.com/">Deborah Paauwe</a></td> </tr>
<tr height="16"> <td height="16"><a href="http://www.debradawes.com.au/">Debra Dawes</a></td> </tr>
<tr height="13"> <td height="13"><a href="http://www.roslynoxley9.com.au/artists/2/Destiny_Deacon/">Destiny Deacon</a></td> </tr>
<tr height="14"> <td height="14"><a href="http://kalimanrawlins.com/artists/diena-georgetti">Diena Georgeti</a></td> </tr>
<tr height="16"> <td class="xl27" height="16"><a href="http://www.bos2008.com/app/biennale/artist/21">Doreen Reid Nakamarra</a></td> </tr>
<tr height="17"> <td class="xl28" height="17"><a href="http://en.wikipedia.org/wiki/Dorothy_Napangardi">Dorothy Napangardi</a></td> </tr>
<tr height="16"> <td class="xl27" height="16"><a href="http://www.annaschwartzgallery.com/works/works?artist=104&c=m">Gabriella & Silvana Mangano</a></td> </tr>
<tr height="13"> <td height="13"><a href="http://www.shermangalleries.com.au/artists/inartists/artist_profile.asp%3Fartist=redgatej.html">Jacky Redgate</a></td> </tr>
<tr height="13"> <td height="13"><a href="http://www.annaschwartzgallery.com/works/biography?artist=24">Janet Burchill & Jennifer McCamley</a></td> </tr>
<tr height="16"> <td class="xl28" height="16"><a href="http://www.janetlaurence.com/">Janet Laurence</a></td> </tr>
<tr height="13"> <td class="xl26" height="13"><a href="http://www.adelaidefestival.com.au/2012/jinoos_taghizadeh">Jinoos Taghizadeh (IRAN)</a></td> </tr>
<tr height="17"> <td class="xl24" height="17"><a href="http://www.anu.edu.au/culture/abstractions/artists/jg_1.htm">Julie Gough (Tas)</a></td> </tr>
<tr height="16"> <td class="xl27" height="16"><a href="http://www.roslynoxley9.com.au/artists/288/Justene_Williams/1180/">Justene Williams</a></td> </tr>
<tr height="14"> <td class="xl28" height="14"><a href="http://www.katerohde.com/">Kate Rohde</a></td> </tr>
<tr height="14"> <td class="xl28" height="14"><a href="http://www.kyliestillman.com/">Kylie Stillman</a></td> </tr>
<tr height="13"> <td height="13"><a href="http://www.experimenta.org/mesh/mesh17/wallace.htm">Linda Wallace</a></td> </tr>
<tr height="13"> <td class="xl26" height="13"><a href="http://www.adelaidefestival.com.au/2012/lisa_reihana">Lisa Reihana (NZ)</a></td> </tr>
<tr height="13"> <td height="13"></td></tr>
<tr height="16"><td class="xl28" height="16"><a href="http://www.ngv.vic.gov.au/crossingborders/interview/lorraine_interview.html">Lorraine Connelly-Northey</a></td> </tr>
<tr height="16"> <td class="xl27" height="16"><a href="http://www.darrenknightgallery.com/artists/weaver/artist.php">Louise Weaver</a></td> </tr>
<tr height="16"> <td class="xl27" height="16"><a href="http://www.darrenknightgallery.com/artists/nikou/artist.htm">Michelle Nikou</a></td> </tr>
<tr height="17"> <td class="xl25" height="17"><a href="http://www.darrenknightgallery.com/artists/ussher/">Michelle Ussher</a></td> </tr>
<tr height="16"> <td class="xl27" height="16"><a href="http://mikaladwyer.com/">Mikala Dwyer</a></td> </tr>
<tr height="13"> <td class="xl26" height="13"><a href="http://www.adelaidefestival.com.au/2012/nancy_spero">Nancy Spero (USA)</a></td> </tr>
<tr height="16"> <td height="16"><a href="http://www.artlink.com.au/articles/150/narelle-jubelin-at-the-tate-case-no-t961301/">Narelle Jubelin</a></td> </tr>
<tr height="17"> <td class="xl25" height="17"><a href="http://www.stillsgallery.com.au/artists/brassington/">Pat Brassington</a></td> </tr>
<tr height="14"> <td height="14"><a href="http://www.patriciapiccinini.net/">Patricia Piccinini</a></td> </tr>
<tr height="14"> <td height="14"><a href="http://www.annaschwartzgallery.com/works/works?artist=60&c=m">Rose Nolan</a></td> </tr>
<tr height="17"> <td class="xl25" height="17"><a href="http://www.tolarnogalleries.com/rosemary-laing/">Rosemary Laing</a></td> </tr>
<tr height="17"> <td class="xl24" height="17"><a href="http://www.daao.org.au/bio/sandra-saunders/">Sandra Saunders</a></td> </tr>
<tr height="14"> <td class="xl28" height="14"><a href="http://www.milanigallery.com.au/artist/sandra-selig">Sandra Selig</a></td> </tr>
<tr height="13"> <td class="xl26" height="13"><a href="http://www.adelaidefestival.com.au/2012/saskia_olde_wolbers">Saskia Olde Wolbers (NED/UK)</a></td> </tr>
<tr height="14"> <td height="14">Silvia Velez</td> </tr>
<tr height="16"> <td class="xl27" height="16"><a href="http://www.breenspace.com/artists/6/biography/simryn-gill/">Simryn Gill</a></td> </tr>
<tr height="17"> <td class="xl25" height="17"><a href="http://www.sarahscoutpresents.com/susan-jacobs">Susan Jacobs</a></td> </tr>
<tr height="14"> <td class="xl28" height="14"><a href="http://www.suzannvictor.com/www.suzannvictor.com/Suzann_Victor.html">Suzann Victor</a></td> </tr>
<tr height="13"> <td class="xl26" height="13"><a href="http://www.adelaidefestival.com.au/2012/teresa_margolles">Teresa Margolles (MEX)</a></td> </tr>
<tr height="17"> <td class="xl24" height="17"><a href="http://www.tjanpi.com.au/">Tjanpi Desert Weavers</a> (NT/SA)</td> </tr>
<tr height="13"> <td height="13"><a href="http://www.roslynoxley9.com.au/artists/26/Tracey_Moffatt/profile/">Tracy Moffatt</a></td> </tr>
<tr height="16"> <td height="16"><a href="http://www.shermangalleries.com.au/artists/inartists/artist_profile.asp%3Fartist=nettov.html">Vanila Netto</a></td> </tr>
<tr height="17"> <td class="xl24" height="17"><a href="http://www.artgallery.sa.gov.au/agsa/home/Exhibitions/SALA/Yhonnie_SCARCE.html">Yhonnie Scarce</a> (Vic/SA)</td> </tr>
<tr height="17"> <td class="xl25" height="17"><a href="http://www.unisa.edu.au/samstagmuseum/exhibitions/2009/docs/SMAKoolmatriecatalogue.pdf">Yvonne Koolmatrie</a></td> </tr>
<!--EndFragment--> </tbody></table>
</div>
count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com2tag:blogger.com,1999:blog-4264013425215027801.post-77483704832076613372012-01-17T17:07:00.000-08:002018-05-15T07:45:43.462-07:00Adelaide Biennial 2012<div style="text-align: center;">
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<a href="http://3.bp.blogspot.com/-NGlw2BJxEQE/TxYdMvHoFlI/AAAAAAAAAOY/9ZaL6RlJlBY/s1600/ADELAIDE_BIENNAIL.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5698774483128030802" src="https://3.bp.blogspot.com/-NGlw2BJxEQE/TxYdMvHoFlI/AAAAAAAAAOY/9ZaL6RlJlBY/s400/ADELAIDE_BIENNAIL.jpg" style="cursor: hand; cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
CoUNTess has received a few emails and comments about the upcoming 2012 Adelaide Biennial of Australian Art that point out the gender imbalance in its line up of "leading artists", so we have put together some numbers for you. <br />
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It is worth noting that all the curators for the Adelaide Biennial have been women. The 2012 Biennial is made up of three exhibitions that appear to separate art into different categories 1. International artists <i><a href="http://www.adelaidefestival.com.au/2012/visual_arts/adelaide_international_restless">Restless</a> </i>2. Indigenous artists <i><a href="http://www.adelaidefestival.com.au/2012/visual_arts/deadly">Deadly</a></i> and 3. Australian artists <a href="https://www.adelaidefestival.com.au/2012/visual_arts/adelaide_biennial_parallel_collisions"><i>Parallel </i><span style="color: #0000ee;"><i><u>Collisions</u></i></span> </a>and we have counted all three.</div>
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In the Biennial's exhibitions of international art and Indigenous art, women are well represented, but when we come to the category "Australian Art" CoUNTess concludes that, yes, the show does has a very male flavour. To see this current "Australian Art" exhibition in a historical context we have counted what we could find documented online from 2004-2012 (<a href="http://countesses.blogspot.com.au/2012/01/adelaide-biennial-2004-2012.html">click here</a>).</div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com1tag:blogger.com,1999:blog-4264013425215027801.post-70196691671727952202011-06-16T20:04:00.000-07:002018-05-15T07:40:49.756-07:00When private collections go publicHere are the gender representation numbers for artworks in the <a href="http://www.artgallery.nsw.gov.au/collection/search/?area=contemporary-art.john-kaldor-family-collection">Kaldor Family Collection</a> donated to the AGNSW. They have been catalogued on the AGNSW website so CoUNTess got to counting the number of works by female artists (2) and male artists(194) collaborators (6). Now in all the reviews CoUNTess has happened upon none seem to mention the curious fact that in amongst all this "great art" — rubbing together and creating new histories and dialogues of cultural importance — there are only two works by one singular female artist <a href="http://www.youtube.com/watch?v=bdaf2qQdI08">Saskia Olde Wolbers</a>, and six works by mixed-gender collaborators <a href="http://www.youtube.com/watch?v=6ZSLvFY1X6g">Bernd and Hilla Becher</a>. <br />
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<a href="http://4.bp.blogspot.com/-G3iB4URrYOY/TfrKdsQ50bI/AAAAAAAAAOQ/J_Gg8Ae-FU8/s1600/kaldor_collection.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5619026096545190322" src="https://4.bp.blogspot.com/-G3iB4URrYOY/TfrKdsQ50bI/AAAAAAAAAOQ/J_Gg8Ae-FU8/s400/kaldor_collection.jpg" style="cursor: hand; cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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A large selection from the Kaldor collection is merged with works from the AGNSW collection and forms the opening exhibition of the <a href="http://www.artgallery.nsw.gov.au/collection/search/?venue=contemporary-galleries&on_display=y">New Contemporary Galleries</a>. This exhibition managed to include 11 works by women, 127 by men and 3 collaborators. <a href="http://www.youtube.com/watch?v=7g1SPDYnsSM">Del Kathryn Barton</a>, <a href="http://www.youtube.com/watch?v=1TCHxNe-Qi8">Mikala Dwyer</a>, <a href="http://www.youtube.com/watch?v=oKHrT1S_jkY&feature=related">Simryn Gill</a>, <a href="http://www.tolarnogalleries.com/rosemary-laing/">Rosemary Laing</a>, <a href="http://www.youtube.com/watch?v=9yxRrH4uR1M">Janet Lawrence</a>, <a href="http://www.youtube.com/watch?v=NIJDn2MAn9I">Doris Salcedo</a> and <a href="http://susannorrie.com/">Susan Norrie</a>.</div>
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<a href="http://3.bp.blogspot.com/-VdIggSWXu0U/TfrKdHzKm_I/AAAAAAAAAOI/uz1BRbZVKYY/s1600/AGNSW_contemporary.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5619026086756785138" src="https://3.bp.blogspot.com/-VdIggSWXu0U/TfrKdHzKm_I/AAAAAAAAAOI/uz1BRbZVKYY/s400/AGNSW_contemporary.jpg" style="cursor: hand; cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
In 2010 <a href="http://countesses.blogspot.com/2010/03/unequal-gender-representation-in-arts.html">CoUNTess counted some collections</a> and the AGNSW figured better than the rest. Not any more. In fact it was the <a href="http://countesses.blogspot.com.au/2008/08/out-for-count.html" target="_blank">Kaldor project</a> that fired this blog into action. Do you think AGNSW will redress the gender balance in future collecting for the museum? <br />
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com7tag:blogger.com,1999:blog-4264013425215027801.post-77054659448327206602011-03-28T21:57:00.000-07:002018-05-15T07:37:00.957-07:00Female artists only one quarter of artists in 21st Century: Art in the First Decade @ GOMA - How representative is it?<div style="text-align: center;">
<a href="http://4.bp.blogspot.com/-fPjH3civlUQ/TZFpmWzX0sI/AAAAAAAAANk/C3oMOIA7524/s1600/goma21stCenturyGENDER.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5589364720220492482" src="https://4.bp.blogspot.com/-fPjH3civlUQ/TZFpmWzX0sI/AAAAAAAAANk/C3oMOIA7524/s400/goma21stCenturyGENDER.jpg" style="cursor: pointer; display: block; height: 230px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-size: 78%;">Gender of artists in exhibition 21st Century : Art in the First Decade at GOMA 2011.</span></div>
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Why stop counting? Onto another! A survey-style exhibition this time: Brisbane, GOMA's <i><a href="https://www.qagoma.qld.gov.au/learn/teaching-and-learning/resources-for-schools/past/21st-century-art-in-the-first-decade">21st Century: Art in the First Decade!</a></i> Sounds important! The GOMA website states:<br />
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This summer 2010–11, to mark the end of the first decade of this millennium, the Gallery presents ‘21st Century: Art in the First Decade’. This ambitious and ground-breaking exhibition will occupy the entire Gallery of Modern Art and focus exclusively on works created between 2000 and 2010. It will showcase more than 200 works and feature over 140 artists and artist collaborative groups – senior, mid-career and emerging – from more than 40 countries.</blockquote>
The website provides a list of artists, from which we were able to identify female artists = 28, male artists = 68, and groups = 8. Not much to say here, then. Just the same old same old. We threw a date of birth chart in for good measure.<br />
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<a href="http://3.bp.blogspot.com/-7_wrr0VPi5c/TZFtpudtRtI/AAAAAAAAAN0/CI1UO1lASe4/s1600/goma21stCenturyDOB.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5589369176158193362" src="https://3.bp.blogspot.com/-7_wrr0VPi5c/TZFtpudtRtI/AAAAAAAAAN0/CI1UO1lASe4/s400/goma21stCenturyDOB.jpg" style="cursor: pointer; display: block; height: 230px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-size: 78%;">Date of birth and gender of artists in exhibition 21st Century : Art in the First Decade at GOMA 2011.</span><br />
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Women Artists in 21st Century : Art in the First Decade @ GOMA</div>
<table border="0" cellpadding="0" cellspacing="0" style="margin-left: 0px; margin-right: auto; text-align: left; width: 354px;"><colgroup><col style="width: 266pt;" width="354"></col> </colgroup><tbody>
<tr height="17" style="height: 12.75pt;"> <td class="xl24" height="17" style="height: 12.75pt; width: 266pt;" width="354"><br /></td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Louise BOURGEOIS (France/United States) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Candice BREITZ (South Africa) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Justine COOPER (Australia/United States) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Angela DE LA CRUZ (Spain/England) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Nathalie DJURBER1 (Sweden) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Latifa ECHAKHCH (Morocco/France) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Tracey EMIN (England) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Monir Shahroudy FARMANFARMAIAN (Iran) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Parastou FOROUHAR (Iran) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Andrea FRASER (United States)</td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Sally GABORI (Kaiadilt people, Australia)</td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Katharina GROSSE (Germany) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Fiona HALL (Australia) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Emily JACIR (Palestine/United States) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Bharti KHER (India) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Anastasia KLOSE (Australia)</td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Yvonne KOOLMATRIE (Ngarrindjeri people, Australia)</td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Susanne KRIEMANN (Germany) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Yayoi KUSA1A (Japan) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">|Gabriella MANGANO & Silvana MANGANO (Australia)</td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Almagul MENLIBAYEVA (Kazakhstan) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Tracey MOFFATT (Australia/United States) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Rivane NEUENSCHWANDER (Brazil) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Fiona PARDINGTON (New Zealand) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Paola PIVI (Italy) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Jana STERBAK (Czech Republic/Canada) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Mitra TABRIZIAN (Iran/England) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Kara WALKER (United States) </td> </tr>
<tr height="17" style="height: 12.75pt;"> <td class="xl25" height="17" style="border-top: medium none; height: 12.75pt;">| Louise WEAVER (Australia) </td> </tr>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com13tag:blogger.com,1999:blog-4264013425215027801.post-59200435189161068752011-03-21T22:21:00.000-07:002018-05-15T07:31:23.976-07:00MCA New Acquisitions in a broader context<img alt="" border="0" id="BLOGGER_PHOTO_ID_5586774110049765330" src="https://3.bp.blogspot.com/-UZh4ne85kNA/TYg1c_3dh9I/AAAAAAAAANU/ed0inVuTUKE/s400/mca_acquisitions2.jpg" style="cursor: pointer; display: block; height: 291px; margin: 0px auto 10px; text-align: center; width: 400px;" /><span class="Apple-style-span"></span><br />
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-size: xx-small;">Gender of artists in exhibition <i>New Acquisitions in Context (2010)</i> @ <span class="blsp-spelling-error" id="SPELLING_ERROR_0">MCA</span>, Sydney</span></span></div>
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<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: rgb(0 , 0 , 0); font-size: x-small;"></span><a href="https://www.mca.com.au/artists-works/exhibitions/559-mca-collection-new-acquisitions-in-context-2010/">New Acquisitions in Context @ Museum of Contemporary Art (2010</a>) 2010 <span class="Apple-style-span" style="color: red;">(edited by <span class="blsp-spelling-error" id="SPELLING_ERROR_1">CoUNTess</span>)</span><br />
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<i>New Acquisitions in Context</i> celebrates five years of the <span class="blsp-spelling-error" id="SPELLING_ERROR_2">MCA</span>’s successful 'New Acquisitions'<span style="color: rgb(255 , 0 , 0);"></span> series of exhibitions. It <span style="color: rgb(255 , 0 , 0);">features mainly male artists</span>. It is presented throughout the Museum’s Level 4 galleries and showcases recent acquisitions <span style="color: rgb(255 , 0 , 0);">of mainly male artists</span> alongside selected works of <span style="color: rgb(255 , 0 , 0);">mainly male artists</span> from the existing <span class="blsp-spelling-error" id="SPELLING_ERROR_3">MCA</span> and <span class="blsp-spelling-error" id="SPELLING_ERROR_4">JW</span> Power Collections.<br />
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Collecting <span style="color: rgb(255 , 0 , 0);">mainly male artists</span> is a vital part of the <span class="blsp-spelling-error" id="SPELLING_ERROR_5">MCA</span>’s activities and is crucial in terms of supporting <span style="color: rgb(255 , 0 , 0);">male</span> artists and preserving their work for future generations. The <span class="blsp-spelling-error" id="SPELLING_ERROR_6">MCA</span> is the<span style="color: rgb(255 , 0 , 0);"> </span><span style="color: red;">not the </span>only museum in Australia dedicated to collecting and exhibiting contemporary art <span style="color: rgb(255 , 0 , 0);">by mainly male</span> artists. <i>New Acquisitions in Context</i> provides visitors with the opportunity to experience a diverse selection of Australian and international art <span style="color: rgb(255 , 0 , 0);">by male artists</span> as well as offering an insight into how the <span class="blsp-spelling-error" id="SPELLING_ERROR_7">MCA</span> Collection <span style="color: rgb(255 , 0 , 0);">of mainly male artists</span> is developed.</div>
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<b>Women Artists in the </b><span class="blsp-spelling-error" id="SPELLING_ERROR_8"><b>MCA</b></span><b> <i>New Acquisitions in Context</i> (2010) (5/18)</b></div>
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<a href="http://www.dorotamytych.com/"><span class="blsp-spelling-error" id="SPELLING_ERROR_9"><span class="Apple-style-span" style="font-family: "georgia";"><span class="Apple-style-span" style="font-size: small;">Dorota</span></span></span><span class="Apple-style-span" style="font-family: "georgia";"><span class="Apple-style-span" style="font-size: small;"> </span></span><span class="blsp-spelling-error" id="SPELLING_ERROR_10"><span class="Apple-style-span" style="font-family: "georgia";"><span class="Apple-style-span" style="font-size: small;">Mytych</span></span></span></a></div>
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<a href="http://mcabelladinner.com/COOMBS.html"><span class="Apple-style-span" style="font-family: "georgia";"><span class="Apple-style-span" style="font-size: small;">Sophie </span></span><span class="blsp-spelling-error" id="SPELLING_ERROR_11"><span class="Apple-style-span" style="font-family: "georgia";"><span class="Apple-style-span" style="font-size: small;">Coombs</span></span></span></a></div>
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: "georgia";"><span class="Apple-style-span" style="font-size: small;">Mary </span></span><span class="blsp-spelling-error" id="SPELLING_ERROR_12"><span class="Apple-style-span" style="font-family: "georgia";"><span class="Apple-style-span" style="font-size: small;">Gubriawuy</span></span></span></span></div>
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<span class="Apple-style-span" style="color: rgb(102 , 102 , 102); line-height: 14px;"><span class="blsp-spelling-error" id="SPELLING_ERROR_13"><span class="Apple-style-span" style="font-family: "georgia";"><a href="http://sangeetasandrasegar.blogspot.com/"><span class="Apple-style-span" style="font-size: small;">Sangeeta</span></a></span></span><span class="Apple-style-span" style="font-family: "georgia";"><a href="http://sangeetasandrasegar.blogspot.com/"><span class="Apple-style-span" style="font-size: small;"> </span></a></span><span class="blsp-spelling-error" id="SPELLING_ERROR_14"><span class="Apple-style-span" style="font-family: "georgia";"><a href="http://sangeetasandrasegar.blogspot.com/"><span class="Apple-style-span" style="font-size: small;">Sandrasegar</span></a></span></span></span></div>
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<span class="Apple-style-span" style="line-height: 14px;"><span class="blsp-spelling-error" id="SPELLING_ERROR_14"><span class="Apple-style-span" style="font-family: "georgia";"><a href="http://www.roslynoxley9.com.au/artists/16/Simryn_Gill/profile/"><span class="Apple-style-span" style="font-size: small;">Simryn Gill</span></a></span></span></span></div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com7tag:blogger.com,1999:blog-4264013425215027801.post-88878510447168540202010-07-21T18:33:00.000-07:002018-05-15T07:24:04.252-07:0017th Biennale of Sydney 2010<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/TEeo2LK7qOI/AAAAAAAAAMg/Ash3gdJJiQs/s1600/17BOS_pie.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5496547518894024930" src="https://1.bp.blogspot.com/_3kE5RYzOXrM/TEeo2LK7qOI/AAAAAAAAAMg/Ash3gdJJiQs/s400/17BOS_pie.jpg" style="cursor: hand; cursor: pointer; display: block; height: 276px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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The 17th Biennale of Sydney ends next week, so CoUNTess is at work recording the gender numbers for you old faithful readers. Basically, there are 81 male artists and 45 female artists which translates to 33% women and 61% men. 5% are groups which haven't been counted in gender as this information is not available. (Aside: CoUNTess wonders do more women collaborate? Or men?)</div>
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The next graph shows the years of birth of the artists. You will notice the largest group of artists to show at the biennale are born in the 1960s. You will also notice that this age bracket of 40-50 year-old artists shows the most extreme gender imbalance. CoUNTess has noticed this trend before. </div>
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If second wave feminism was defined and most active in the 1960s and 70s, and third wave feminism is recorded as having started in the 1990s, CoUNTess is wondering what happened to the 1980s? And we don't need <a href="http://www.youtube.com/watch?v=R-ws050G6dk&feature=related">Jane Tennison</a> to tell us that this 40-50 year old batch of artists were the ones graduating art schools in the 1980s, nor that it is this group of women artists who are consistently under represented. </div>
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For further breakdown we took at look at Australian artists represented in this Biennale; Australian women artists fare reasonably well with 38% almost as many Australian male artists with 46% while groups consisted of 16%. </div>
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<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/TEegKnD57sI/AAAAAAAAAMY/eX0Iy9y5OKc/s1600/ozartists_17bos.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5496537974373478082" src="https://1.bp.blogspot.com/_3kE5RYzOXrM/TEegKnD57sI/AAAAAAAAAMY/eX0Iy9y5OKc/s400/ozartists_17bos.jpg" style="cursor: hand; cursor: pointer; display: block; height: 238px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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While the numbers are fairly close overall you can see in the second chart below that the difference can be identified as coming from - Snap! - women artists born in the 1960s. </div>
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Is this a trend CoUNTess will still be documenting in another 10 years? Do women spike at 35 and that's the best we can hope for? Or is it just this 1960s generation who have borne the brunt of this gender backlash? Are women quitting art in their 40s? What's going on?</div>
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Got a theory? Please send it to CoUNTess for discussion.</div>
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<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/TEew3myRkCI/AAAAAAAAAMo/D_d1uddXaWQ/s1600/ozartists_17bosDOB.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5496556339579686946" src="https://1.bp.blogspot.com/_3kE5RYzOXrM/TEew3myRkCI/AAAAAAAAAMo/D_d1uddXaWQ/s400/ozartists_17bosDOB.jpg" style="cursor: hand; cursor: pointer; display: block; height: 263px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com2tag:blogger.com,1999:blog-4264013425215027801.post-61667535811965238562010-03-22T15:11:00.000-07:002018-05-15T07:20:30.793-07:00NewsUnequal gender representation in the arts is regular news these days and CoUNTess hopes this media spotlight continues. <br />
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In the theatre world the actions of <a href="http://australianwomendirectorsalliance.blogspot.com/2009/12/eo-policy-change-at-mtc-awdas-letter-to.html">The Australian Women Directors Alliance</a> have brilliantly addressed a need for a path of responsibility towards changing the systematic lack of opportunities afforded women wishing to pursue careers in theatre. That old chestnut EEO has been put to good use, and through the governance of Melbourne University the MTC can perhaps begin to unpack assertions vis a vis quality not quotas, with some understanding of the construction of 'artistic merit' flowing through recognised <a href="http://www.theage.com.au/opinion/society-and-culture/theatre-company-is-failing-women-directors-20091002-gfh1.html">career paths</a> that, as it turns out, are not exactly accessible to all.</div>
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When Barbara Striesand introduced the 2010 Oscar for best director with "<a href="http://www.guardian.co.uk/commentisfree/2010/mar/14/kathryn-bigelow-hollywood-film">the moment has come</a> ... its <a href="http://www.nytimes.com/2010/03/14/movies/14dargis.html?scp=1&sq=academy%20award%202010%20feminism&st=cse">Kathryn Bigalow</a>", she announced the first woman to win the directors Academy Award in its <a href="http://www.smh.com.au/entertainment/oscars/women-directors-battle-against-hollywoods-celluloid-ceiling-20100303-pi7n.html">82 year history</a> - a point which was a large part of the pre and post event commentary. Meanwhile, the 2010 Archibald Portrait Prize — an event which apparently likes to court controversy — has gained most media attention for its particularly extreme <a href="http://www.theage.com.au/entertainment/art-and-design/a-boys-club-with-brushes-women-missing-from-the-picture-at-archibald-prize-20100320-qn6u.html">lack of women artists and subjects</a>, with only 7 artists of the 34 finalists being women, and only 4 of the portraits depicting women. This is down from 2009 which was comprised of 11 women and 29 male artists, and 26 portraits of men and 13 of women.</div>
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CoUNTess got to thinking about quality and quotas. The Indian government see quotas as a way forward and have passed a bill in parliament that <a href="http://www.guardian.co.uk/world/2010/mar/09/india-parliament-approves-female-quota">one third</a> (why not half?) of legislative seats be reserved for women which must be a powerful incentive for women in India. Seeing one woman succeed has a different effect from seeing many. And it is here that this post gets down to the counting. </div>
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<a href="https://www.moca.org/exhibition/wack-art-and-the-feminist-revolution">Wack</a>, <a href="http://www.brooklynmuseum.org/exhibitions/global_feminisms/">Global Feminisms</a>, and most recently <a href="http://www.centrepompidou.fr/Pompidou/Manifs.nsf/AllExpositions/44638F832F0AFABFC12575290030CF0D?OpenDocument&sessionM=2.2.2&L=2">Elles at the Centre Pompideu</a> have been some of the most radical and memorable exhibitions this decade due to their existence in such high profile museums. These shows have raised a new awareness in the art viewer to question the politics and taste-valuing of artworld and culture industries. The Pompidou website describes Elles<br />
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<blockquote>
For the first time in the world, a museum will be displaying the feminine side of its own collections. This new presentation of the Centre Pompidou's collections will be entirely given over to the women artists from the 20th century to the present day.<br />
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elles@centrepompidou is the third thematic exhibition of the National Modern Art Museum's collections, following Big Bang in 2005 and the Mouvement des Images (Image Movements) in 2006-2007.<br />
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This will be the occasion for the institution, which has built up the very first collection of modern and contemporary art, to show its commitment to women artists, nationality and discipline taken together, and place them at the core of modern and contemporary art of the 20th and 21st centuries.</blockquote>
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<a href="http://www.guardian.co.uk/lifeandstyle/2009/jul/10/elles-pompidou-paris">In the Guardian</a>:<br />
<blockquote>
This exhibition would have been impossible to mount even five years ago, according to curator Camille Morineau - the museum simply did not have enough work by women. This, she admits, was partly due to a lack of interest by former curators. But thanks to an attitude change at the Pompidou, 40% of its art by women was bought within the last four years and none of it has been borrowed from other galleries. "We've been buying more female artists,"</blockquote>
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and</blockquote>
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The gesture, it seems, has already inspired the Museum of Modern Art. Morineau says the New York institution was initially sceptical of elles@pompidou, but it is now working on a new publication, Individuals: Women artists in the collection of the Museum of Modern Art. After its release next year, it will also focus on some of its own women artists, with each curatorial department devoting a significant portion, and in some cases all, of its collection galleries to them.</blockquote>
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Amazing! But how would such a project fare here in Australia? What work by women artists are in our museum collections? CoUNTess has looked at the following collecting museums in Australia: <a href="http://nga.gov.au/AustralianArt/Index.cfm">National Gallery of Australia</a>, <a href="http://www.ngv.vic.gov.au/collection/pub/">National Gallery of Victoria</a> and the <a href="http://www.artgallery.nsw.gov.au/collection/browse">Art Gallery of New South Wales</a>, who all handily have their collections online. However, each site organises their content in various ways, so in the interests of creating a comparable sample CoUNTess has counted all Australian artworks acquired since 2000.</div>
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<a href="http://2.bp.blogspot.com/_3kE5RYzOXrM/S6iFVWqG1mI/AAAAAAAAAMA/JekM7DkyFEc/s1600-h/collections.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5451753950837921378" src="https://2.bp.blogspot.com/_3kE5RYzOXrM/S6iFVWqG1mI/AAAAAAAAAMA/JekM7DkyFEc/s400/collections.jpg" style="cursor: hand; cursor: pointer; display: block; height: 275px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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<span class="Apple-style-span" style="font-size: small;">This graph shows the percentage of male and female artists in the three museum collections NGV, NGA, AGNS</span><span class="Apple-style-span" style="font-size: small;">W acquired since 2000</span></div>
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<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/S6iFVPomK3I/AAAAAAAAAL4/OsBGXl2Joqc/s1600-h/collections_graph.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a></div>
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<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/S6iFVPomK3I/AAAAAAAAAL4/OsBGXl2Joqc/s1600-h/collections_graph.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="text-decoration: none;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5451753948952537970" src="https://1.bp.blogspot.com/_3kE5RYzOXrM/S6iFVPomK3I/AAAAAAAAAL4/OsBGXl2Joqc/s400/collections_graph.jpg" style="cursor: pointer; display: block; height: 77px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: left; width: 400px;" /></a><br />
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<span class="Apple-style-span" style="font-size: small;">These are the actual numbers of artworks collected by NGV, NGA, AGNSW since 200</span><span class="Apple-style-span" style="font-size: small;">0</span></div>
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It would appear that an Australian women artists show at this juncture might be a bit thin on the ground. Collections are amassed not only through purchase directly by the museum, but also through collectors and foundations purchasing work and gifting it to the museum (for example, the large donation by Joseph Brown to the NGV in 2004 was substantially historical Australian paintings by men), while in other cases the artist donates the works themselves. </div>
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At the end of the day, these collections write the art histories of today and tomorrow, a purchase or donation of an artist's work into a museum collection increases its market value and its chances of being shown in public in the future. A museum or comparable private collection (or private museum) is the top of the success pile for artists. So, where do museums and private collectors buy their art - that will be in commercial galleries. Stay tuned, CoUNTess will examine the gender breakdown in Australia's commercial galleries.</div>
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count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com8tag:blogger.com,1999:blog-4264013425215027801.post-56077130324472996812009-11-24T18:29:00.000-08:002018-05-15T07:06:49.656-07:00PRIMA CURRENCY<span class="Apple-style-span" style="font-size: small;">by the Handmaiden</span><br />
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While writing the Primavera article I was wondering whether being in an exhibition like Primavera would lead to other possibilities. Was it a foot in the door? Or the end of the line? Did it give the women included a leg up in the art world, or was that only the case for the male artists? To assess some of this I went back the <i>Art and Australia</i> publication <a href="http://countesses.blogspot.com/2008/12/current.html">Current</a>, as I remembered thinking at the time it came out that some of the younger artists were those that had just been in Primavera.<br />
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One of things I like about <i>Current</i> is that it presents Australian artists along side those from New Zealand. For me, this inclusion acknowledges trans-Tasman dialogues, influences and migration. <i>Current</i> also featured the work of several Aboriginal and Maori artists with a diverse range of practices. Despite these positive attributes, the poor representation of women is disappointing.<br />
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In order to see how inclusion in Primavera might have contributed to their inclusion in <i>Current</i>, I created a graph with the dates of birth for each artist and highlighted the dates in yellow if the artist had been in Primavera. To have been eligible for the most recent Primavera you would have been born in 1973 or earlier. The latest you would have been born, in order to participate in a Primavera is 1959.<br />
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<a href="http://4.bp.blogspot.com/_3kE5RYzOXrM/SwyXN6o2IiI/AAAAAAAAALg/1rJMyu1YwFs/s1600/CURRENT_DOB.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5407863517899792930" src="https://4.bp.blogspot.com/_3kE5RYzOXrM/SwyXN6o2IiI/AAAAAAAAALg/1rJMyu1YwFs/s400/CURRENT_DOB.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 174px;" /></a><br />
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DATE OF BIRTH OF ARTISTS IN CURRENT BY GENDER </div>
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WITH YELLOW HIGHLIGHTS FOR ARTISTS ALSO IN PRIMAVERA</div>
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<span class="Apple-style-span" style="font-size: small;">[click to enlarge]</span></div>
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Please note: The 4 artist in the Kingpins are listed individually, but will be counted as 1 in the following statistics.</blockquote>
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If you look then at the ages group that are eligible for Primavera, or in an emerging category, 5 out of 8 female artists have been in Primavera and 8 out of 16 men. In the emerging category we can see that the Primavera would be a contributing factor for inclusion, particularly for women, but becomes less important as artist head into the mid-career zone.<br />
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The Primavera exhibitions that women participated in are 1992 then, after a large gap, to '03, with proceeding artists from '04, '07 and '08 exhibitions included. For men the spread is longer starting again with 1992 then '95, '96, '99, '01, '03, '04, '06, '07, '08 exhibitions represented through the choice of male artists. This, then, either indicates that Primavera leads onto more opportunities for men and/or that the kudos of being including in Primavera lasts longer for men than women.<br />
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After considering the Primavera information, the second thing I noticed was that there is an incredible age gap in the women included. Like <a href="http://countesses.blogspot.com/2009/06/venice-biennale-2009.html">Countesses findings</a> for the Venice selection, there is a real drop off in women in that 40’s age group - that of the “mid-career artist”. Of course, <i>Current</i> can hardly be considered a good source, given that it had such an overall poor representation of women, but it nonetheless interesting that it is the mid-career, rather than later or emerging artist that disappears from the sample.<br />
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So what else does <i>Current</i> tell us about the biases that might have been part of selection criteria, which might indicated why women are poorly represented. As <a href="http://www.smh.com.au/news/entertainment/arts/primavera-acquisitions-a-portrait-of-decadence/2009/01/16/1231608949070.html/?page=3">John MacDonald</a> pointed out in his negative review of the book, the choices for inclusion were developed by several committees; there was an Indigenous round table, as well as <i>Art and Australia</i>’s usual editorial board that was augmented by Justin Paton, Max Delaney and Victoria Lynn and Nick Waterlow OAM. As with any decision made by a committee, there would have been a fair amount of comprise, and there must have been many very good artists who just missed out on the cut. So the question here is what were some of the deciding factors that might have formed the decisions and cuts.<br />
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The sample of the eighty artists chosen is relatively small given their participation in the art world as a whole. And as the number of women artists are within that sample even lower (28%), I don’t suggest that these findings can be extrapolated out to the rest of the art world. However, what these findings indicate is that the path to success for men is wider and more diverse than women.<br />
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The model promoted here is that of the artist as represented by commercial galleries. Only one artist was not represented by a commercial gallery: Ah Xian. Two senior Aboriginal artists also present a slightly different model in that they are represented by their local arts centre: John Mawurndjul at Maningrida and Paddy Bedford at Jirrawun. Most artist (60%) were represented by two or more galleries. This statistic does not really tell us much, as there is a quite a difference in influence from being represented by Anthony d’Offey (London) or Roselyn Oxley9 as opposed to GRANTPIRRIE. Equally, being represented by four smaller galleries in the 4 main states is not the as same as being represented by Anna Schwartz in two states. But what this static indicates is that the artists in <i>Current</i> have the sorts of practices that <i>fit</i> and have been successful within the commercial gallery system. There are very few represented artists who use performance (Stelarc, Tony Schwensen and Monica Tichacek) and only one artist who uses dialogical exchange as central to his work – Danius Kesminas.<br />
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<a href="http://4.bp.blogspot.com/_3kE5RYzOXrM/SwyXOcJY8BI/AAAAAAAAALw/iQiZdfZ2zrk/s1600/CURRENT_PRIMAVERA.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5407863526894661650" src="https://4.bp.blogspot.com/_3kE5RYzOXrM/SwyXOcJY8BI/AAAAAAAAALw/iQiZdfZ2zrk/s400/CURRENT_PRIMAVERA.jpg" style="cursor: hand; cursor: pointer; display: block; height: 251px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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GRAPH OF GENDER REPRESENTATION IN CURRENT AND PRIMAVERA</div>
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<span class="Apple-style-span" style="font-size: x-small;">[click to enlarge]</span></div>
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So what are the trends?<br />
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If you are a women you will most likely be born after 1960 (49) and before 1950 (59): You will have had a feature article or review of your work in <i>Art and Australia</i>. You will currently use or have used photography as your chosen media, or one of your chosen media. Out of a possible 18 galleries, Roslyn Oxely9, Anna Schwartz or Arc One will represent you. In addition to your gallery in Australia you might also be represented overseas.<br />
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Or<br />
If you are a woman born after 1970: You probably have had review of your work in <i>Art and Australia</i>. You will work across media, probably working with new media, or making paintings. You have probably been in Primavera from 2003 to 2007. Out of a possible 9 galleries, you will show with Kaliman, Ivan Anthony, Gallery Barry Keldouis or Karen Woodbury.<br />
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Men, age is no barrier to your success whether you are in your 20’s or 60’s<br />
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If you are older than the median age of 41 (born 1967): You will have had a feature article or review of your work in <i>Art and Australia</i>. You will produce paintings or sculptures and installations. Out of a possible 26 galleries, Darren Knight, Hamish McKay, Kaliman, Anna Schwartz, Brook Gifford, Peter McLeavy or Tolarno will represent you. In addition to your gallery in Australia and/ or New Zealand you might also be represented overseas.<br />
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If you are younger than the median age of 41: You will have had a feature article or review of your work in <i>Art and Australia</i>. You will make painting, sculptures, and/or video installations. You might have been in a Primavera. Out of a possible 22 galleries, Roslyn Oxely9, Kaliman, Anna Schwartz or Uplands will represent you. In addition to your gallery in Australia you might also be represented overseas.<br />
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<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/SwyXOLVOc0I/AAAAAAAAALo/QdpTDrZDG10/s1600/CURRENT_PRIM_TABLE.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5407863522380903234" src="https://1.bp.blogspot.com/_3kE5RYzOXrM/SwyXOLVOc0I/AAAAAAAAALo/QdpTDrZDG10/s400/CURRENT_PRIM_TABLE.jpg" style="cursor: hand; cursor: pointer; display: block; height: 115px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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TABLE OF NUMBERS OF ARTISTS BY GENDER IN CURRENT AND PRIMAVERA</div>
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<span class="Apple-style-span" style="font-size: x-small;">[click to enlarge]</span></div>
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<span class="Apple-style-span" style="font-size: small;">Footnotes:<br /><br />Full list of Australian and New Zealand galleries with numbers of artists represented after each.<br />Roslyn Oxley9: 15, Kaliman: 12, Anna Schwartz: 10, Hamish McKay: 8, Darren Knight: 7, Tolarno: 7, Ivan Anthony: 6, Peter McLeavy; 5, Brook Gifford: 4; GBK: 4, Sutton: 4, Uplands; 4, Arc One: 3, Sue Crockford: 3, Micheal Lett: 3, Yuill Crowley: 2, Mori: 2, Karen Woodbury: 2, Criterion: 2, Sullivan and Strumpf: 2, BREENSPACE: 2, GRANTPIRRIE: 2, Lister: 1, Jan Murphy: 1, Sarah Cottier: 1, William Mora: 1, Jirrawun: 1, Maningrida: 1, Papunya Tula: 1, Utopia: 1, Gabriel Pizzi: 1, Jan Minton: 1, Scott Livery: 1, Stark White: 1, Ray Hughes; 1, Greenaway: 1, Gow Lansford: 1, Rex Irwin: 1, Milani: 1, Murray White: 1, McNamara Photography: 1, Brett McDowell: 1, Stills: 1, Brigitte Braun: 1, Jan Manton:1, Chapman: 1, Shubert Contemporary: 1, Tim Oslen: 1, Turner: 1, Johnstone: 1.</span>count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com1tag:blogger.com,1999:blog-4264013425215027801.post-6341027440802452592009-11-05T15:48:00.000-08:002018-05-15T06:39:28.570-07:00PRIMAVERA<span class="Apple-style-span" style="font-size: small;">by the Handmaiden</span><br />
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Primavera, the MCA’s annual exhibition of young Australian artists, is almost over, so I though I would cast an eye over its history of gender representation. The exhibition started in 1992 as a memorial by the Jackson family to their daughter and sister, Belinda Jackson. 2009 sees the exhibition “come of age” with its 18th outing. Even though the sample of artists is quite small, given the numbers of artist practicing in Australia, I wondered whether Primavera would yield some interesting long-term data of gender representation and what shifting attitudes in the Australian art world are tracked through its history.<br />
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<span class="Apple-style-span" style="font-size: x-small;">See the footnote below this post for an explanation of the categories of artists.</span><br />
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<b>Primavera in general:</b><br />
Primavera has been curated by a combination of staff and independent curators. In the period from 2000-present they have mostly been independent. In the period 1992 to 1994 Primavera was an exhibition of 3 to 4 individual artists. The artists came mostly from NSW or Victoria (read: Sydney or Melbourne) with usually one artist in the show from Perth, Adelaide or Brisbane.<br />
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From 1995 to 1999 the number of artist grew to 6 to 7 and again, during this period, artists mostly resided in Sydney or Melbourne. 1997 was an exception in this period, it was curated by the Aboriginal artist Rea and was the first exhibition which not only included Indigenous artists, but also artists from outside of Sydney and Melbourne - in this case Tasmania and Brisbane, who outnumber those from the centres. In both these periods the artists included practiced as individuals rather than in collaborations or groups.<br />
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In 2000 the exhibition grew to 9 artists, and began to be consistently a more nationally focussed exhibition, including artists from all the smaller states. It is in this period that the types of artists' practice also become more diverse, with the inclusion of new media and also different models of artist practice such as collaboration. In 2002 the collaborative duos of Nat and Ali (2 women) and Bunter and Frost (2 men) appeared, and since then nearly every year has included some form of collaboration.<br />
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This national focus is probably not surprising given the increased availability of air travel with Virgin Blue and Jetstar, not only for the curators to make studio visits, but also that artists themselves are more mobile and participate in self-organised events across the states that gain them national visibility. Additionally it’s in this time period that we have seen the growing national trend for emerging artist events, shows and grants.<br />
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<b>So how about gender?</b><br />
Over the 18 years of Primavera’s history there have been 8 exhibitions where female artists outnumber male artists, and 4 where the genders where represented evenly. Some exhibitions where women significantly outnumber men where 1998, curated by Ben Curnow 5/1, Felicity Fenner 6/3 in 2005, and Christine Morrow 6/3 in 2007. This seems quiet amazing, given that feminism was never a “theme”. Could Primavera be one of the only re-occurring exhibitions in Australia that has such positive representation of women? Additionally only 4 of the 16 curators have been men. Congratulations MCA for such positive numbers!<br />
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<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/SvNowTfibKI/AAAAAAAAALI/0aEQRT7LxCw/s1600-h/PRIMAVERA.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5400775557222919330" src="https://1.bp.blogspot.com/_3kE5RYzOXrM/SvNowTfibKI/AAAAAAAAALI/0aEQRT7LxCw/s400/PRIMAVERA.jpg" style="cursor: hand; cursor: pointer; display: block; height: 286px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="font-size: xx-small;"></span><br />
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<span class="Apple-style-span" style="font-size: xx-small;"><b><span class="Apple-style-span" style="font-size: small;">Gender repesentation of artists in Primavera </span></b></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" style="font-size: x-small;">click on image to enlarge</span></span></div>
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The exhibitions where men outnumber women are as follows: 1999 curated by Rachel Kent with 2 women to 4 men; 2003, Julianna Pierce with 1 women 6 men, 1 artistic duo, 1 male duo, and 1 all girl group (Kingpins); 2006, Aaron Seeto, 4 women, 8 men and 1 mixed duo; and this year, 2009, curated by Jeff Kahn 2 women, 5 men and 1 female duo.<br />
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The year that had the lowest representation, with women participating in 3 of a total of 10 artworks, was the “new media” Primavera curated by Julianna Pierce.<br />
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In general, the trend for gender representation since 2000 has been alternating between exhibitions where either men or women significantly outnumber each other interspersed with exhibitions where the genders are more or less equal.<br />
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Here are the stats since 2000:<br />
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<a href="http://3.bp.blogspot.com/_3kE5RYzOXrM/SvNowpDLdVI/AAAAAAAAALQ/FF-CY1t3oyw/s1600-h/PRIMAVERA_2000.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5400775563009553746" src="https://3.bp.blogspot.com/_3kE5RYzOXrM/SvNowpDLdVI/AAAAAAAAALQ/FF-CY1t3oyw/s400/PRIMAVERA_2000.jpg" style="cursor: hand; cursor: pointer; display: block; height: 284px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="font-size: x-small;"></span><br />
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<span class="Apple-style-span" style="font-size: x-small;"><b><span class="Apple-style-span" style="font-size: x-small;">Gender repesentation of artists in Primavera since 2000</span></b></span></div>
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<b>Location</b><br />
Each case study that Countess has looked at has a kind of flavour where the stats start to show something that you may not have noticed while wandering through a magazine or exhibition enjoying the art. For me the two interesting results of the Primavera crunch relate to location and education. All information is based on what an artist had done at time of inclusion in Primavera, with information coming from the catalogue and internet searches. 2009 biographic information is excluded from the below statistics and trends.<br />
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Nearly all of the artists included in Primavera live and work in city centres, with the majority of those in Melbourne. While curators seems perfectly happy to jet off to Melbourne and enjoy a couple of days of studios visits and nice cafes, there seems to be some reluctance to get onto a train or the freeway and explore the edges of Sydney, or the garages, spare rooms and fast food joints of Canberra, Wollongong, Newcastle and Western Sydney... let alone the far reaches of the interior or the tropics. Jeff Kahn adds an exception to this rule in 2009, with artist Roderick Sprigg based in the outer wheat belt of WA. Below are the stats for state distribution - remembering, this really means Melbourne, Sydney, Brisbane and Adelaide etc. The trend of artists moving from smaller centres like Perth and Canberra to places like Melbourne and Sydney is small and hidden in these statics.<br />
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Artist distribution across the states, with first year each state was represented in Primavera.<br />
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Total sample 128 (the 2009 Primavera not included)<br />
<a href="http://1.bp.blogspot.com/_3kE5RYzOXrM/SvNowyMsrqI/AAAAAAAAALY/9-FK_V8UETE/s1600-h/PRIMAVERA_STATE.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5400775565465398946" src="https://1.bp.blogspot.com/_3kE5RYzOXrM/SvNowyMsrqI/AAAAAAAAALY/9-FK_V8UETE/s400/PRIMAVERA_STATE.jpg" style="cursor: hand; cursor: pointer; display: block; height: 198px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="font-size: xx-small;"></span><br />
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<span class="Apple-style-span" style="font-size: xx-small;"><b><span class="Apple-style-span" style="font-size: x-small;">Repesentation of artists by state in Primavera </span></b></span></div>
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Note: Yukultji Napangati (Pintupi language group) divides her time between two communities across the WA and NT borders. I have included her as a separate statistic because her location is not adequately described by state boundaries.<br />
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<b>Education</b><br />
The primary factor for inclusion in Primavera is education. Only 3 artists from the 132 total did not have any form of tertiary education. Two of these artists are Aboriginal artists living in remote locations (Napangati and Pedro Wonaeamirri both in 2005). Only 5 Aboriginal artists are included in the whole of the history of Primavera, and it is access to education, or the form and content of tertiary education as an arbiter of successful practice that must be questioned here.<br />
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The MCA decision as to whether to include biographic information is reflected in the continually changing form and design of the exhibition catalogue. As a resource and future research tool I would ask the MCA to consider including this biographical information with education histories. For those artists that did not have their biographic education included I searched the internet. Interestingly I found that it was the female artists who where not present on the web to provide that information (in 7 cases as opposed to 1 male). Sometimes these women had a web presence on a commercial gallery site, but not all of these included education information.<br />
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Reading through the biographical information over the 18 years tracks the shift from TAFE skills training (e.g. foundation year at Prahran College) to university degrees. It details the amalgamations of art schools to universities: e.g. Queensland College of Art becomes Griffith University and Canberra School of Art becomes ANU SoA, with resulting Graduate Diplomas becoming Honours years. The first postgraduate being a Masters of Visual Arts, appears in the sample 1998 and then every year after that includes at least one artist with a postgraduate degree. The <a href="https://www.unisa.edu.au/Business-community/Samstag-Museum/Samstag-Scholarships/">Samstag Scholarship</a>, first awarded in1993, has funded 7 out of the 21 post grads. Unsurprisingly, given the high numbers of women in undergraduate and postgraduate degree at universities, there were 13 women artists as opposed to men 8 with these higher degrees.<br />
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As 'university education is the pathway to successful practice' is the model confirmed in Primavera, the next question is which institutions? To get the below statics I counted each degree once, so from a total of 120 artists biographical details there are 165 studies counted.<br />
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No real surprise here with Melbourne artists the majority in the sample: VCA is the largest institution who's alum are represented in Primavera, with 20% of artists having gone there, followed by SCA with 13.3%. Only the 1993 Primavera did not have a graduate from VCA, with 1999 the only year SCA did not have a graduate included. As the University of Melbourne is currently squeezing the VCA into the “<a href="https://about.unimelb.edu.au/strategy/melbourne-model">Melbourne Model</a>” you have to wonder about whether is such a good idea given the past success of its graduates. Both CoFA (7.8%) and RMIT (10.3%) the next largest groups, do not appear in the sample till 1998 and 1999 respectively.<br />
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<b>So who is a Primavera artist?</b><br />
To be in Primavera you will be about 28 and live in a metropolitan centre, mostly likely Melbourne. You would have gone to art school, most likely from VCA or SCA 4 to 6 years ago. If you’re a women, you are more likely to have a Masters or PhD than your male counterpart. If you are male, you are more likely had some time off studies, either between TAFE and uni, or between 3rd and Honours years than your female co-exhibitors.<br />
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This model excludes as many artists as it includes. I have heard chit chat that Primavera is looking tired and should no longer exist. I think it would be a pity to loose an exhibition that has been so good for women. Perhaps the curators should just start to look beyond Melbourne to find different voices and visions.<br />
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<b>------- (footnotes)</b><span class="Apple-style-span" style="font-size: small;"><br />I am using the same categories as I did the articles on <i>Broadsheet</i>. Each collaboration is counted as one project/artist, however their education histories are individually counted (if provided). Collaborations are divided as mixed duos (1 male and 1 female artist) female duos, male duos. A “group” means a groups of more than two artists where the gender is mixed (PVI), and a female group that of more than two artists where the artist are all women (Kingpins).<br /><br />Other Primavera quick facts:<br />The average age of an artist in Primavera is 27 to 28 the youngest being 23 and the oldest 36. The age spread is more or less the same across both genders. The exhibition with the youngest average age was 1997 (Rea): 25 and the oldest 1995 (Cramer): 32 and 1998 (Curnow): 32. Primavera has bridged a generation with the oldest artists born in 1959 and the youngest 1983, making the oldest 24 when the youngest artists were born.<br /><br />The number of artist included in Primavera range from 3 in 1993 (Micheal), to 13 in 2006 (Seeto).<br /><br />The most highly educated year was 2005 (Fenner) (oddly given that it also included two artist with no tertiary education) with 4 artists put of 9 with Post Grads and the remaining 3 with tertiary education, having done honours AND either TAFE training or secondary education diplomas.</span>count.esses(at)gmail.comhttp://www.blogger.com/profile/09197038138235180117noreply@blogger.com4